Joslyn Art Museum's 2007 Annual Report
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National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
Explore Ponder Hear Experience Feel Find Wonder Relax Become Know
explore ponder hear experience feel find wonder relax become know connect journey celebrate grow hunt reveal explore react enroll lounge excite move realize soar absorb see create stun play unwind ignite think wander tour study ramble consider express shock unite view marvel touch laugh shop expand show impress observe listen search discover roam discuss JOSLYN understand enjoyART MUSEUM explore ponder hear experience feel find wonder relax become know connect journey celebrate grow hunt reveal explore react enroll lounge excite move realize soar absorb see create stun play unwind ignite think wander tour study ramble consider express shock unite view NOW FREE marvel touch Admission laugh shop expand show impress observe listen search discover roam discuss understand enjoy JOSLYN ART MUSEUM is a premier center for the visual arts celebrating curiosity and creativity while encouraging understanding and appreciation of the visual arts. The Museum offers something for every interest and every age, and general admission is free to all. Inside, nearly twenty galleries feature artwork from ancient times to the present. Landscaping and sculptures abound in the outdoor gardens, anchored by a granite reflecting pool with column fountains. Architecture A gift to Omaha from Sarah Joslyn in memory of her husband George, a prominent Omaha businessman, Joslyn’s Art Deco Memorial Building (1931) features a gorgeous tiled fountain court; 1,000-seat concert hall; founder’s room of walnut, peroba, teakwood, and stained glass; and marbles from around the world (including the exterior’s striking Georgia Pink). The modern Scott Pavilion (1994), designed by architect Norman Foster, is connected to the original building by a breathtaking atrium with a 45-foot-high glass ceiling. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Annual Report 2016
Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors. -
Annual Report 2018
2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach. -
The Inventory of the Everett Raymond Kinstler Collection #1705
The Inventory of the Everett Raymond Kinstler Collection #1705 Howard Gotlieb Archival Research Center Kinstler, Everett Raymond #1705 8/9/05 Preliminary Listing I. Printed Material. Box 1 A. Chronological files; includes news clippings, periodicals, bulletins, and other items re: ERK and his artwork. 1. "1960-62." [F. 1] 2. "1963-64," includes photos. [F. 2] 3. "1965-66." [F. 3] 4. "1967-68." [F. 4] 5. "1969." [F. 5] 6. "1970." [F. 6] 7. "1971," includes photos. [F. 7] 8. "1972," includes photos. [F. 8] 9. "1973." [F. 9] 10. "1974." [F. 10] 11. "1975." [F. 11] 12. "1976." [F. 12] 13. "1977." [F. 13] 14. "1978." [F. 14] 15. "1979." [F. 15] Box2 16. "1980." [F. 1-2] 17. "1981." [F. 3-4] 18. "1982." [F. 5-6] 19. "1983." [F. 7] 20. "1984." [F. 8] 21. "1985." [F. 9] 22. "1986." [F. 10] 23. "1987." [F. 11] 24. "1988." [F. 12] 25. "1988-89." [F. 13] 26. "1990." [F. 14] 27. "1991." [F. 15] Box3 28. "1992." [F. 1] 29. "1993." [F. 2] 30. "1994." [F. 3] 31. "1995." [F. 4] 32. "1996." [F. 5] 33. "1997." · [F. 6] 34. "1998." [F. 7] 35. "1999." [F. 8] 36. "2000." [F. 9] Kinstler, Raymond Everett (8/9/05) Page 1 of 38 37. "2001." [F. 10-11] 38. "2002." [F. 12-13] 39. "2003." [F. 14] 40. "2004." [F. 15-16] II Correspondence. Box4 A. Letters to ERK arranged alphabetically; includes some responses from ERK. 1. Adams, James F. TLS, 5/16/62. [F. 1] 2. Adams,(?). ALS, Aug. -
Weitz Family Permanent Collection, Pique Curiosity and Stimulate Creativity
NEWS RELEASE 2200 Dodge Street, Omaha, Nebraska 68102 Phone: 402-342-3300 Fax: 402-342-2376 www.joslyn.org FOR IMMEDIATE RELEASE Contact: Amy Rummel, Director of Marketing & Public Relations December 3, 2014 (402) 661-3822 or [email protected] Joslyn Art Museum Debuts New Art Exploration Space Omaha, NE – Joslyn Art Museum announces the grand opening of a new, 1,500 square Explore, imagine, and play in an artful way foot interactive space — Art Works: A Place for Curiosity. Visitors young and old — and at ART WORKS. everyone in between — will find fun, fresh ways to experience the visual arts at Art Works. Nine hands-on activity stations, all with direct and innovative connections to Joslyn’s A GIFT FROM THE Weitz Family permanent collection, pique curiosity and stimulate creativity. Opportunities to explore everything from portraiture to American Indian beadwork, Greek pottery to painting, are presented in formats from traditional low-tech (pencil and paper) to custom hi-tech (digital canvases connected to social media). Activities are designed to provide unique experiences, time and again. Every nuance of Art Works engages visitors with Joslyn’s permanent collection, which spans centuries, reflects different cultures, and introduces varying perspectives. Connecting with the collection through Art Works, visitors will come away with a deeper, more personal understanding of works they see in the galleries as well as the depth and history of human creativity as expressed through art. Located on the east end of the lower level in the Museum’s Memorial building, Art Works is a free, drop-in space, open during all public hours. -
In Living Color: Andy Warhol & Contemporary Printmaking
NEWS RELEASE 2200 Dodge Street, Omaha, Nebraska 68102 Phone: 402-342-3300 Fax: 402-342-2376 www.joslyn.org For Immediate Release Contact: Amy Rummel, Director of Marketing and Public Relations October 3, 2014 (402) 661-3822 or [email protected] Andy Warhol & Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation Exhibition of Pop Art Premieres at Joslyn Art Museum (Omaha, NE) – Reflecting a range of aesthetic concerns and conceptual underpinnings, In Living Color: Andy Warhol and Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation highlights artists who invest in the power of their palettes. Dispatching a seemingly endless array of colors, Andy Warhol depicted the world with the volume turned up. His example reverberates throughout contemporary printmaking. This exhibition, organized and traveled by Joslyn Art Museum, includes over 110 -more- IMAGE ABOVE: Andy Warhol (American, 1928-1987), Marilyn Monroe (Marilyn) (II.25), AP edition C/Z, 1967, screen print, 36 x 36 inches, Collection of the Jordan Schnitzer Family Foundation, 2001.51d; © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York; Marilyn Monroe™; Rights of Publicity and Persona Rights: The Estate of Marilyn Monroe, LLC add 1-1-1-1 In Living Color: Andy Warhol & Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation works by Warhol and 16 other artists working since 1945, including John Baldessari, Ross Bleckner, Louise Bourgeois, Helen Frankenthaler, Keith Haring, and Richard Diebenkorn. In Living Color premieres nationally at Joslyn Art Museum on October 11 and continues through January 11. -
Syracuse University Art Galleries
School of Art College of Visual and Performing Arts Syracuse University Stow Wengenroth Spring Morning, 1949 Lithograph Printed by George C. Miller Syracuse University Art Collection, 75.28 precise definition of what is meant by "collabora~ tion" is difficult to determine when referring to American printmaking. In general, the term has come to represent the myriad circumstances in which persons other than the artist have assisted in the making of the artist's prints. A collabora tion consists of the interaction between an artist, who is also referred to as the printmaker, and a printer. Typically, the efforts of the artist and printer complement rather than duplicate one another. The art ist develops the idea and creates the image on the plate, stone, block, paper, or screen; the image is printed by the printer. "Collaborative American Printmaking" is not meant to overlook, and thus diminish, the importance of those Syracuse University Art Galleriesartists who have assumed total responsibility for the making of their prints-but rather to ex lore the various contexts in which American artists have made prints and thereby portray how an art form has evolved. While many printmakers have successfully printed their own proofs and editions, others have sought the skills of a professional printer for a variety of reasons. Most print makers have an interest in other art media as well, and have November 22, 1987 been unable or have chosen not to devote the time necessary to master the often complex technical demands of the print~ through making processes. The collaborative workshop has also freed January 10, 1988 many artists from having to devote scarce financial resources and studio space to the purchase and maintenance of printmaking equipment. -
Picasso and Chicago at the Art Institute of Chicago,Collectors Make
Picasso and Chicago at The Art Institute of Chicago The “Picasso and Chicago” exhibit marks the special hundred- year relationship of Pablo Picasso with the city of Chicago and features more than 250 works selected from the The Art Institute of Chicago’s own exceptional holdings and from private collections throughout city. Representing Picasso’s innovations in nearly every media—paintings, sculpture, prints, drawings, and ceramics—the works not only tell the story of Picasso’s artistic development but also the city’s great interest in and support for the artist since the Armory Show of 1913, a signal event in the history of modern art. The 1913 Armory Show showcased the works of the most radical European artists of the day alongside their progressive American contemporaries and forever changed the artistic landscape for artists, collectors, critics, and cultural institutions in the United States. Unlike the other venues for the Armory Show in New York and Boston, which were private institutions, the Art Institute enjoys the distinction of being the only art museum to host the exhibition and as such, has the privilege of being the first in the United States to present the works of such artists as Constantin Brâncusi, Marcel Duchamp, Henri Matisse, and Picasso to the public. Indeed, Chicago’s interest in Picasso’s art would grow over the years, leading to a number of important distinctions: as just one remarkable example, in 1967 the city welcomed the artist’s first monumental work of public sculpture. “It is clear in even the briefest of histories that Chicago played a critical, early role in the reception and development of modern art in the United States,” said Stephanie D’Alessandro, Gary C. -
Timeline Mary Cassatt Cassatt & Degas
Mary Cassatt a biography Timeline Mary Stevenson Cassatt was born in 1844 in Allegheny City (now The artist’s focus on the lives of women, often depicted in their homes Pittsburgh), Pennsylvania. Although she was the American daughter of engaged in intellectual activities such as reading a book or newspaper, an elite Philadelphia family, she spent much of her childhood and later demonstrates a commitment to portraying them with rich inner 1840 life in France. Between 1860 and 1862, she studied at the Pennsylvania experiences, which was distinct from their roles as wives and mothers. Academy of Fine Arts. In Paris, she received classical artistic training As a female artist, she offered a unique insight into the private lives of 1844 Mary Stevenson Cassatt was born under the tutelage of the great Academic painter Jean-Léon Gérôme women, particularly in the upper class, and she lends significance to their (1824–1904), learning to paint by recreating the works of the Old domestic world. on May 22 in Allegheny City, Pennsylvania Masters. When she was 24, one of her paintings, The Mandolin Player Cassatt was also an influential advisor to American art collectors. was accepted to be shown at the 1868 Paris Salon, which was the official Her social position as the daughter of a prominent Philadelphia family exhibition of the Academy of Fine Arts. Due to the outbreak of the connected her to many upper class patrons, and she convinced friends, Franco-Prussian War two years later, the artist left Europe for a brief most notably Louisine Elder Havemeyer (1855–1929), to buy the work hiatus in Philadelphia. -
A Finding Aid to the Ethel Fisher Papers, 1930-2017, in the Archives of American Art
A Finding Aid to the Ethel Fisher Papers, 1930-2017, in the Archives of American Art Rihoko Ueno 2016 January 15 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..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1939-2014............................................................. 5 Series 2: Correspondence, 1930-2017.................................................................... 6 Series 3: Writings, 1965-2014................................................................................ 10 Series 4: Project Files, 1954-2011........................................................................