DOCSLIB.ORG

Fall 1988 CAA Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fall 1988 CAA Newsletter newsletter Volume 13, Number 3 Fall 1988 nominations for CAA board of directors The 1988 Nominating Committee has submitted its initial slate of nine State Building; Art Bank-Dept of State; and numerous college/uni­ nominees to serve on the CAA board of directors from 1989 to 1993. versity and corporate collections. AWARDS: NEA fellowship grant; The slate of candidates has been chosen with an eye to representation Louis Comfort Tiffany grant; Illinois Arts Council fellowship grant; based on region and discipline (artists, academic art historians, muse­ Senior Fulbright Scholar Australia. PROFESSIONAL ACTIVlTIES: NEA um professionals). The nominating committee asks that voters take juror; Mid-America Art Alliance/ NEA juror. cAA ACTIVITIES: annual such distribution into account in making their selection of candidates. meeting panelist, 1988. The current elected board of directors is composed of: eight artists There is an ongoing need to evaluate amongst ourselves the qualt~y (32%), twelve academically-affiliated art historians (48%), and five and type oj education undergraduate and graduate programs are pro­ museum professionals (20%). Of those, eight are men (32%) and viding. It is no longer enough to simply teach "how to. " The art world seventeen are women (68%); sixteen represent the northeast and mid­ continues to demand more theoretical and critical dialogue as the em­ Atlantic (64%), four represent the midwest (16%), two represent the phasis on content and context accelerates. Furthermore, Jewer west (8%), one represents the southeast (4%), and two represent the academic opportunities are juxtaposed with student cynicism about southwest (8%). This compares to the following breakdown of the the art world and how to "make it big out there." I see a needJorJac­ membership: artists 43%; academically-affiliated art historians 44%; ulty to inJuse their art programs with a renewed commitment to integ­ museum professionals 11 %; male 46%; female 54%; northeast/mid­ rity, authentic~~y, social responsibility and depth of ideas. Providing Atlantic 45%; midwest 20%; west 15%; southwest 8%; southeast art students with a keen awareness not only oj the world as it was . 12%. In trying to make a balanced selection, please keep in mind that but also AS IT IS. The CAA should continue to provide guidance and the makeup of the board will also be affected by those whose terms are dialogue, challenging art programs to be relevant andJunctional in a expiring: two artists, two art historians, two men, two women, three critical yet indifferent world. from the northeast/mid-Atlantic and one from the midwest. Six names will be selected by the nominating committee as its final slate and formally proposed for election at the annual members busi­ WILLIAM A. CAMFIELD ness meeting to be held in San Francisco on February 16, 1989. CAA Rice University members are asked to submit a ballot indicating their six choices for the final slate; the results of the preferential ballot serve as a guide to BA Princeton Univ, 1957; MA, PhD Yale Univ, the nominating committee in fulfilling its mandate to present a final, 1964. POSITIONS: asst prof to assoc prof, Univof balanced slate. St. Thomas, Houston, 1964-69; assoc prof to The- preferential ballot is in the form of a prepaid business reply full prof, Rice Univ, 1969-, chair 1970-72. card and is being mailed separately. Please return it promptly: ballots PUBLICATIONS: ''Juan Gris and The Golden Sec­ must be postmarked no later than I November. In the event of un­ tion," The Art Bulletin, 1966; Solomon R. foreseen postal delays, late ballots will be counted. Guggenheim Museum, Francis Picabia, 1970; 1988 NOMINATING COMMITTEE: David Pease, Yale Univ, chair; Francis Picabia: His Art, Life and Times, Richard Haas, NYC; Moira Roth, Mills College: Beatrice Sanchez, Princeton, 1979; Kunsthalle Berne (also Paris, Philadelphia, Hou­ Kansas City Art Institute; Harvey Stahl, Univ California, Berkeley; ston), Tabu-Dada:}ean Crotti and Suzanne Duchamp, 1983; Frank- . Charles Talbot, Trinity Univ, San Antonio. furter Kunstverein and Museum of Fine Ans, Houston, New Art Jrom a New City, 1983; Farish Gallery, Rice Univ, Michael Heizer, "45°, 90°, l800," 1985; Menil Collection, Houston, Marcel Duchamp PHYLLIS BRAMSON "Fountain," 1988. AWARDS: Phi Beta Kappa, American Philosophical University of Illinois, Chicago Society grant; ACLS fellowship; NEH fellowship; Brown Foundation grant: Guggenheim fellowship; several summer grants from the Univ BFA Univ Illinois, Urbana, 1963; MA Univ of St Thomas and Rice Univ. PROFESSIONAL ACTIVITIES: founding mem­ Wisconsin, Madison, 1964; MFA School of the ber, Association International pour l'Etude de Dada et du SUITeal­ Art Institute of Chicago, 1974. POSITIONS: win­ isme; co-founder, Texas Conference of Art Historians; trustee, dow designer, Marshall Field & Co., 1967-69; Museum of Fine Arts, Houston. CAA ACTIVITIES: presented paper at an­ instructor, Chicago Academy of Fine Arts, nual meeting, 1972; member of nominating committee. 1972-73. 1969-74; adjunct faculty, Columbia College, 1972-82; adjunct asst prof and adjunct assoc I accepted nomination to the Board ofDirectors without an agenda, prof, Univ of Illinois at Chicago, 1984 and but bearing instead a general, longstanding sense oj gratitude for the 1985; assoc prof, Univ Illinois, Chicago 1985-. SOLO EXHIBITIONS: work ofCAA and a desire to "pay my dues" in service as well as dollars. Artemisia Gallery, Chicago; Monique Knowlton Gallery, NYC; Mari­ Although I am an art historian with a highly-focused specialty, my anne Deson Gallery, Chicago; Gallerie Farideh Cadot, Paris; Dart proJessional experience and interests are much broader. I take delight Gallery, Chicago; Marilyn Butler Gallery, Scottsdale, Ariz; Seigfried in the entire scope oj art history, and my specialized research becomes Gallery, Univ Ohio, Athens; Hewlett Gallery, Carnegie-Mellon Univ, intertwined with larger social and intellectual issues. I work with plea­ Pittsburgh; Joseph Gross Gallery, Univ Arizona, Tucson; The Renais­ sure in a combined art/art historical department, and I write about sance Society at The Univ Chicago; Brody's Gallery, Washington, DC; and collect (modestly) contemporary art. I have been both guest cura~ Merwin Gallery, Illinois Wesleyan Univ, Bloomington. COLLECTIONS: tor and trustee for museums. A ccordingly, I have some concernfor the Hirshhorn Museum; Museum of Contemporary Art: Art Institute of whole constituency ofCAA. If elected, I will strive to become better in­ Chicago; Illinois State Museum; Lakeside Museum of Art & Science; formed about l~S work and responsive to its needs. Madison Art Center; Palm Springs Museum; Musee de Toulon, France; Dept of the Interior; Milwaukee Art Museum, Illinois Center Continued on p. 2, col. 1 Inominations for CAA board of directors Inominations for CAA board of directors WHITNEY CHADWICK Museum of Arts Award; Cassandra Foundation; NEA fellowship; San Francisco State University CAPS Sculpture Award; Guggenheim Foundation fellowship; NJ 1987; co-editor, "Survey of Women and Persons of Color in Post-sec­ balance in programs and publicat~·ons for all of the manyjz"elds found State Arts Council; GSA Sculpture Commission for Jamaica, Queens ondary Photographic Education," Exposure, 1988; "What Becomes a within the membershtp. I also am conscious ofthe necessity of making BA Middlebury, 1965; MA, PhD Pennsylvania Social Security. PROFESSIONAL ACTIVITIES: chair, sculpture jury for Legend Most: The Short Sad Career of Diane Arbus," The Contest of the CAA truly representational of the w~·de geographic and interest State Univ, 1968, 1975. POSITIONS: lecturer to l.I.E. Fulbright Grant; panelist, juror and consultant several times, Meaning: Critical Histories of Photography, 1989. AWARDS: State groups it must embrace. Cooperatz've and mutually reinforcing rela­ asst prof to assoc prof, M. I. T., 1972-77; assoc NEA; juror and panelist, NY State Council on the Arts and NYC com­ Council on the Arts video criticism fellowship. PROFESSIONAL ACTIV­ tionsh~ps will benejz"t all involved in the arts since interests must and prof to full prof, San Francisco State Univ, munity development program, Art and Community organizations; ITIES: representative and founding member, Women's Caucus of the should overlap. At a time in which university administrators often 1978-. PUBLICATIONS: Women, Art, and Soci­ National Consortium, NYC; consultant and juror, Rockefeller Center Society for Photographic Education; board of directors, Gay and Les­ tend to equate faculty productivity with tncome-generating six-jz"gure ety, 1989; Women Artists and the Surrealist exhibition, Johnson-Atelier, Princeton; panelist, several NJ Arts bian Media Coalition; exhibitions committee, Los Angeles Institute of grants and technological research, I beb·eve the CAA must seek more Movement, 1985; Myth and Surrealist Paint­ Council programs and NJ Dept of Environmental Protection Liberty Contemporary Art; advisory board, Long Beach State Dept of Art; effective and persuasive means by which to make the case for the ing, 1929-1939, 1980; "Toyen and the Surreal­ State Park Sculpture; panelist, Massachusetts Commission on Arts; member, NASAD; various panels, lectures and consultancies. CAA liberal and creatt've arts. ist Movement in Czechoslovakia," Sympost'um, 1988; "Women Artists panelist, Ohio State Individual Grant; panelist, Chicago Art Expo on ACTIVITIES: annual meeting panelist, 1985, 1987. and the Politics of Representation," Feminist Art CTt'ticism,
Load more

Recommended publications
  • It's Not Enough to Say 'Black Ls Beautiful' I
    I : t .: t I t I I I : I 1. : By F,ank Bowling It's Not Enough to Say 'Black ls Beautiful' I I I I 1 I I I 1 AIvin Loving: Diana: Tine iip,2, 197'1.20 feet.8 inches wide: Ziede( galle(y. The probleils oi how to iudge black ari by black artists are nol made not with the works themselves or their deiivery. Not with a positrvely easier by simply installing it; herE a painler examines the works arriculared object or set of objects. It is as though what is being said is of Williams, Loving, Edwerds, Johnson and Whitten as both esthetic that whatever-black people do in the varloLLs areas labeied art ls obiecls and as symbols etpressing a unique heritago and stale of mif,d Art-hence Black Art. And various spoKesmen nake ruies to govern this supposed new form oi erpressron. Unless we accept the absurdi- ty ol such stereolypes as "they 1'e all got rhythm---." and even if we Recent New York arl has brought about curious and oiten be.rilder- do, can we stretch a little fuilher to Jay they've all got paintrng'i ing confronrations which tend to stress the potitical over the esthetic. Whichever way this question is atrswered there are orhers oi more A considerubie amount oi wnting, geared away irom hlstory, iaste immediale importance, such as: Whal precisely is lile nature ol biack and questiotrs oI quality in traditiotral esihetic terms, dnfts tcwards art'i If we reply, however, tongue-in-cheek.
    [Show full text]
  • Art for People's Sake: Artists and Community in Black Chicago, 1965
    Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago.
    [Show full text]
  • Art-Related Archival Materials in the Chicago Area
    ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest
    [Show full text]
  • 2017 Legendary Landmark Richard Hunt
    2017 Legendary Landmark Richard Hunt Born in Chicago in 1935, Richard Hunt developed an interest in art from an early age. From seventh grade on, he attended the Junior School of the School of the Art Institute of Chicago. He went on to study there at the college level, receiving a B.A.E. in 1957. A traveling fellowship from the School of the Art Institute took him to England, France, Spain and Italy the following year. While still a student at SAIC, he began exhibiting his sculpture nationwide and during his junior year one of his pieces, “Arachne,” was purchased by the Museum of Modern Art in New York. In 1962, he was the youngest artist to exhibit at Seattle’s World Fair. In 1967, Hunt’s career in sculpture began to take him outside the studio with his first large- scale public sculpture commission, “Play” (the first sculpture commissioned by the State of Illinois Public Art Program). This piece marked the beginning of what Hunt refers to as “his second career” – a career that gives him the opportunity to work on sculpture that responds to the specifics of architectural or other designed spaces and the dynamics of diverse communities and interests. Since that time, he has created over 150 commissioned works. Hunt has received honors and recognition throughout his career, and in 1971, he was the first African-American sculptor to have a major solo exhibition at the Museum of Modern Art in New York. His work can be found in numerous museums as well as both public and private collections, including the Art Institute of Chicago, the National Gallery and National Museum of American Art in Washington, D.C., the Whitney Museum of American Art, the Metropolitan Museum of Art and the Museum of Modern Art in New York.
    [Show full text]
  • A Finding Aid to the Ellen Lanyon Papers, Circa 1880-2014, Bulk 1926-2013, in the Archives of American Art
    A Finding Aid to the Ellen Lanyon Papers, circa 1880-2014, bulk 1926-2013, in the Archives of American Art Hilary Price 2016 September 19 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 4 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1880-2015 (bulk 1926-2015)......................... 6 Series 2: Correspondence, 1936-2015.................................................................. 10 Series 3: Interviews, circa 1975-2012.................................................................... 24 Series 4: Writings, Lectures, and Notebooks, circa
    [Show full text]
  • PROGRAM SESSIONS Madison Suite, 2Nd Floor, Hilton New York Chairs: Karen K
    Wednesday the Afterlife of Cubism PROGrAM SeSSIONS Madison Suite, 2nd Floor, Hilton New York Chairs: Karen K. Butler, Mildred Lane Kemper Art Museum, Wednesday, February 9 Washington University in St. Louis; Paul Galvez, University of Texas, Dallas 7:30–9:00 AM European Cubism and Parisian Exceptionalism: The Cubist Art Historians Interested in Pedagogy and Technology Epoch Revisited business Meeting David Cottington, Kingston University, London Gibson Room, 2nd Floor Reading Juan Gris Harry Cooper, National Gallery of Art Wednesday, February 9 At War with Abstraction: Léger’s Cubism in the 1920s Megan Heuer, Princeton University 9:30 AM–12:00 PM Sonia Delaunay-Terk and the Culture of Cubism exhibiting the renaissance, 1850–1950 Alexandra Schwartz, Montclair Art Museum Clinton Suite, 2nd Floor, Hilton New York The Beholder before the Picture: Miró after Cubism Chairs: Cristelle Baskins, Tufts University; Alan Chong, Asian Charles Palermo, College of William and Mary Civilizations Museum World’s Fairs and the Renaissance Revival in Furniture, 1851–1878 Series and Sequence: the fine Art print folio and David Raizman, Drexel University Artist’s book as Sites of inquiry Exhibiting Spain at the Chicago Columbian Exposition of 1893 Petit Trianon, 3rd Floor, Hilton New York M. Elizabeth Boone, University of Alberta Chair: Paul Coldwell, University of the Arts London The Rétrospective and the Renaissance: Changing Views of the Past Reading and Repetition in Henri Matisse’s Livres d’artiste at the Paris Expositions Universelles Kathryn Brown, Tilburg University Virginia Brilliant, John and Mable Ringling Museum of Art Hey There, Kitty-Cat: Thinking through Seriality in Warhol’s Early The Italian Exhibition at Burlington House Artist’s Books Andrée Hayum, Fordham University Emerita Lucy Mulroney, University of Rochester Falling Apart: Fred Sandback at the Kunstraum Munich Edward A.
    [Show full text]
  • Art Seminar Group 1/29/2019 REVISION
    Art Seminar Group 1/29/2019 REVISION Please retain for your records WINTER • JANUARY – APRIL 2019 Tuesday, January 8, 2019 GUESTS WELCOME 1:30 pm Central Presbyterian Church (7308 York Road, Towson) How A Religious Rivalry From Five Centuries Ago Can Help Us Understand Today’s Fractured World Michael Massing, author and contributor to The New York Review of Books Erasmus of Rotterdam was the leading humanist of the early 16th century; Martin Luther was a tormented friar whose religious rebellion gave rise to Protestantism. Initially allied in their efforts to reform the Catholic Church, the two had a bitter falling out over such key matters as works and faith, conduct and creed, free will and predestination. Erasmus embraced pluralism, tolerance, brotherhood, and a form of the Social Gospel rooted in the performance of Christ-like acts; Luther stressed God’s omnipotence and Christ’s divinity and saw the Bible as the Word of God, which had to be accepted and preached, even if it meant throwing the world into turmoil. Their rivalry represented a fault line in Western thinking - between the Renaissance and the Reformation; humanism and evangelicalism - that remains a powerful force in the world today. $15 door fee for guests and subscribers Tuesday, January 15, 2019 GUESTS WELCOME 1:30 pm Central Presbyterian Church (7308 York Road, Towson) Le Jazz Hot: French Art Deco Bonita Billman, instructor in Art History, Georgetown University What is Art Deco? The early 20th-century impulse to create “modern” design objects and environments suited to a fast- paced, industrialized world led to the development of countless expressions, all of which fall under the rubric of Art Deco.
    [Show full text]
  • National Endowment for the Arts Annual Report 1989
    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
    [Show full text]
  • Conversations with Melvin Edwards Extended Version
    s & Press Conversations with Melvin Edwards Extended Version Since the spring of 2013, I’ve talked extensively with Melvin Edwards about his life and work. A talk with Edwards moves—much like his art—with energy, force, and not infrequent bursts of humor, through a series of topics connected by associations fired from the artist’s quick-moving and wide-ranging mind. A seemingly straightforward question can prompt a spiraling string of anecdotes and observations spanning mundane commonplaces of everyday life, esoteric aesthetic concepts, and personal, familial and political history. Edwards makes sculpture through a process-oriented approach. Ordinarily, he works without sketches, although he is an inveterate and devoted maker of drawings. He begins with the spark of an idea, then continues associatively, based on what he sees, handles, remembers. The journey itself lends definition and meaning to the resulting composition, which became a good lesson to recall in conversation, whenever we ended up far from the subject we thought was our destination. Edwards and I had our conversations in various places—his studios, his apartment, his New York gallery, and the Nasher’s conference room. We also talked as we drove through Los Angeles neighborhoods, and as we sat together in restaurants and coffee shops. In sorting through our many digressions, mutual interruptions, and asides, to select the excerpts that follow, I’ve attempted to choose exchanges that provide heretofore unavailable information, especially about the first decade or so of Edwards’ career, and that reveal something of the artist’s concerns and, more elusively, his turn of mind.
    [Show full text]
  • Mary-Reid-Kelley-Press-Release.Pdf
    54 eastcastle street TEL +44 (0)20 7323 7000 london w1w 8ef FaX +44 (0)20 7323 6400 www.pilarcorrias.com [email protected] pilar corrias PRESS RELEASE pilar corrias presents Mary Reid Kelley Swinburne’s Pasiphae 10 September - 4 October 2014 pv: Tuesday 9 September, 6-8pm Mary Reid Kelley with Patrick Kelley, Swinburne’s Pasiphae, 2014. HD video. Pilar Corrias is pleased to present Swinburne’s Pasiphae, the second solo exhibition by American artist Mary Reid Kelley with the gallery, featuring a new film alongside props, drawings, and photographic portraits. Swinburne’s Pasiphae (2014) follows Priapus Agonistes (2013) in an ongoing trilogy that explores the mythological Minotaur’s tragic family tree. For the first time Reid Kelley adapts an existing text, using Victorian poet Algernon Charles Swinburne’s dramatic fragment Pasiphae to tell the unlikely story of the Minotaur’s conception. Unpublished during Swinburne’s lifetime, probably due to its shocking sexual theme, the poem stages an interaction between master artisan Daedalus and the Minotaur’s mother, the bewitched Minoan Queen Pasiphae, who is cursed with an insatiable wish to mate with a beautiful bull. Symbolising, respectively, reckless creative power and the torment of unfulfilled desire, Daedalus and Pasiphae indelibly dramatise the complex collaboration of artist and audience. Mary Reid Kelley works primarily in video. Captivated by the portrayal of women throughout history, her films glean stories from significant historical periods, especially moments of cataclysm. Her early suite of films take inspiration from female archetypes of the World War I era, whose stories were largely unrecorded, namely a nurse from the Western Front (The Queen’s English, 2008), a munitions worker (Sadie, the Saddest Sadist, 2009), and a prostitute from the frontline (You Make me Iliad, 2010).
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Kevin Clash
    Finding Aid to The HistoryMakers ® Video Oral History with Kevin Clash Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Clash, Kevin Title: The HistoryMakers® Video Oral History Interview with Kevin Clash, Dates: September 21, 2007 Bulk Dates: 2007 Physical 6 Betacame SP videocasettes (2:37:58). Description: Abstract: Puppeteer Kevin Clash (1960 - ) created the character Elmo on Sesame Street. A multiple Emmy Award-winning puppeteer, he also performed on the television programs, Captain Kangaroo, and Dinosaurs, and in the films, Teenage Mutant Ninja Turtles, and Muppet Treasure Island. Clash was interviewed by The HistoryMakers® on September 21, 2007, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2007_268 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Children’s educational puppeteer Kevin Clash was born on September 17, 1960 in Turner’s Station, a predominantly black neighborhood in the Baltimore, Maryland suburb of Dundalk, to George and Gladys Clash. In 1971, at the age of ten, Clash began building puppets, after being inspired by the work of puppeteers on the Sesame Street television program, a passion that stuck with him throughout his teen years. His first work on television was for WMAR, a CBS affiliate that produced a show entitled Caboose. Clash also performed a pelican puppet character for the WTOP- TV television program Zep. In his late teens, Clash met Kermit Love, a puppet designer for the Muppets, who arranged for Clash to observe the Sesame Street set.
    [Show full text]
  • Mark Godfrey on Melvin Edwards and Frank Bowling in Dallas
    May 1, 2015 Reciprocal Gestures: Mark Godfrey on Melvin Edwards and Frank Bowling in Dallas https://artforum.com/inprint/issue=201505&id=51557 Mark Godfrey, May 2015 View of “Frank Bowling: Map Paintings,” 2015, Dallas Museum of Art. From left: Texas Louise, 1971; Marcia H Travels, 1970. “THIS EXHIBITION is devoted to commitment,” wrote curator Robert Doty in the catalogue for the Whitney Museum of American Art’s 1971 survey “Contemporary Black Artists in America.” He continued, “It is devoted to concepts of self: self-awareness, self-understanding and self-pride— emerging attitudes which, defined by the idea ‘Black is beautiful,’ have profound implications in the struggle for the redress of social grievances.” In fact, the Whitney’s own commitment to presenting the work of African American artists might not have been as readily secured without the prompting of an activist organization, the Black Emergency Cultural Coalition. The BECC had been founded in 1969 to protest the exclusion of painters and sculptors from the Metropolitan Museum of Art’s documentary exhibition “Harlem on My Mind,” and that same year, several of its members had requested a meeting with the Whitney’s top brass, commencing a dialogue that was to go on for months. The back-and-forth was at times frustrating for the BECC’s representatives—artist Cliff Joseph, for example, was to recall that the Whitney leadership resisted the coalition’s request that a black curator organize the group exhibition. But unlike many art institutions at that time, the museum did recognize the strength of work by contemporary African American artists—and did bring that work to the public, not only in Doty’s survey but also, beginning in 1969, in a series of groundbreaking and prescient monographic shows.
    [Show full text]