Oral History Interview with Barbara G. Fleischman, 2011 Dec. 27-2012 Jan. 23
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THE PAINTING and SCULPTURE COLLECTION: a NEW PERSPECTIVE, Opening at the Museum Of
The Museum of Modern Art „TPiCPMn 10 U west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart FOR RELEASE: Wednesday, March 14, 1973 Press Preview: Monday, March 12, 11am-4pm "It is one of the important functions of the Museum Collection to give a core, a spine, a background for study and comparison, a sense of relative stability and continuity to an institution dedicated to the changing art of our unstable world." — (1942) Alfred H. Barr, Jr., the first Director of the Museum and Director of Museum Collections for 20 years before his retirement in 1967. THE PAINTING AND SCULPTURE COLLECTION: A NEW PERSPECTIVE, opening at The Museum of Modern Art on March 14, brings the exhibition of the Museum collection up to date with new ground-floor galleries devoted solely to works executed since the middle 1950s. The Museum's unrivaled historical review of the modern masters and movements from Cezanne through Abstract Expressionism is presented in remodeled and newly installed galleries on the second and third floors. The expansion and redesigning of these galleries, carried out over a period of months by the present staff headed by William S. Rubin, Chief Curator of the Painting and Sculpture Collection, has been made possible in part by a generous grant from the National Endowment for the Arts and support from the New York State Council on the Arts. "Each new installation is, of necessity, something of a re-evaluation — if for no other reason than that only a fraction of the Museum's collection can be shown at one time," Mr. -
King's College, Cambridge
King’s College, Cambridge Annual Report 2014 Annual Report 2014 Contents The Provost 2 The Fellowship 5 Major Promotions, Appointments or Awards 18 Undergraduates at King’s 21 Graduates at King’s 26 Tutorial 36 Research 47 Library and Archives 51 Chapel 54 Choir 57 Bursary 62 Staff 65 Development 67 Appointments & Honours 72 Obituaries 77 Information for Non Resident Members 251 While this incremental work can be accomplished within the College’s The Provost maintenance budget, more major but highly desirable projects, like the refurbishment of the Gibbs staircases and the roof and services in Bodley’s will have to rely on support apart from that provided by the endowment. 2 I write this at the end of my first year at The new Tutorial team under Perveez Mody and Rosanna Omitowoju has 3 THE PROVOST King’s. I have now done everything once begun its work. There are now five personal Tutors as well as specialist and am about to attend Alumni Weekend Tutors, essentially reviving a system that was in place until a few years ago. reunion dinners for the second time. It has It is hoped that the new system will reduce the pastoral pressure on the been a most exciting learning experience THE PROVOST Directors of Studies, and provide more effective support for students. getting to know the College. While I have not had much time for my own research I In the Chapel we have said farewell to our Dean, Jeremy Morris. Jeremy have had the opportunity to learn about came to the College from Trinity Hall in 2010, and after only too short a others’ interests, and have been impressed time returns to his former College as its Master. -
Society of Fellows News American Academy in Rome
SOCIETY OF FELLOWS NEWS AMERICAN ACADEMY IN ROME LETTERS FALL 2003 From the Editors Stefanie Walker FH’01, Catherine Seavitt FA’98 What’s in a letter? is exemplified by the collaborative Society of Fellows NEWS work of two of the 2002-03 Fellows, The theme of this issue of the SOF FALL 2003 Peter Orner FW’03 NEWS explores that question, and we writer and visual Published by the Society of Fellows of are pleased at the diversity of artist Arthur Simms FV’03. It is truly in The American Academy in Rome responses. Paul Davis FD’98, fascinat- this fluid back-and-forth exchange 7 East 60 Street ed by the transformation of the cor- that we feel the most hope for corre- New York, NY 10022-1001 USA rugated metal walls around Roman spondence. There is nothing stranger tel 212 751 7200 www.sof-aarome.org Co-Editors: Stefanie Walker FH’01 construction sites into public bulletin than reading just one half of a dia- Catherine Seavitt FA’98 boards, provides us with our fantastic logue of letters, as we are so often Contributors: Joanne Spurza FC’89 cover. Other contributions center on forced to do. It is then left to our Brian Curran FH’94 the long history of letter writing, as imagination to fill in the missing let- SOF Liason: Elsa Dessberg studied by historian Emil J. Polak ters of the other correspondent. And FR’63 in his delightful interview with there is certainly the poignancy of Editor Stefanie Walker FH’01. The letters left unanswered - or letters Contents graphics of the Imperial Roman that one knows will not be answered, SOF President’s Message 3 ABC’s are studied by Sumner Stone such as those addressed to Defense 7 East 60 Street 4 Via Angelo Masina 5 5 VA’98 in his detailed analysis of the Secretaries or dead Roman senators. -
The Best Investment Advice I Ever Received
The Best Investment Advice I Ever Received The Best Investment Advice I Ever Received Priceless Wisdom from WARREN BUFFETT, JIM CRAMER, SUZE ORMAN, STEVE FORBES, and Dozens of Other Top Financial Experts Liz Claman new york boston PUBLISHER’S NOTE: This publication is designed to provide competent and reliable information regarding the subject matter covered. However, it is sold with the understanding that the author and publisher are not engaged in rendering legal, financial, or other professional advice. Laws and practices often vary from state to state and if legal or other expert assistance is required, the services of a professional should be sought. The author and publisher specifically disclaim any liability that is in- curred from the use or application of the contents of this book. Copyright of the compilation © 2006 by Liz Claman Foreword copyright © 2006 by Paul O’Neill All rights reserved. “You Two” by Richard M. Sherman and Robert B. Sherman © 1968 (Renewed) EMI UNART CATALOG INC. All rights controlled by EMI UNART CATALOG INC. (Publishing) and ALFRED PUBLISHING CO., INC. (Print). All rights reserved. Used by permission. Warner Business Books Hachette Book Group USA 1271 Avenue of the Americas New York, NY 10020 Visit our Web site at www.HachetteBookGroupUSA.com. Warner Business Books is an imprint of Warner Books, Inc. Warner Busi- ness Books is a trademark of Time Warner Inc. or an affiliated company. Used under license by Hachette Book Group USA, which is not affiliated with Time Warner Inc. First eBook Edition: October 2006 ISBN: 0-7595-6951-7 For Gabrielle and Julian What makes the battle worth the fighting? What makes the mountain worth the climb? What makes the question worth the asking? The reason worth the rhyme? Someone to strive for, do or die for, I have you Two. -
The National Arts Awards Chair
1 Edye and Eli Broad salute Americans for the Arts and 2 tonight’s honorees for their commitment ensuring broad access to the arts 2014 Americans for the Arts National Arts Awards Monday, October 20, 2014 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Outstanding Contributions to the Arts Award Legacy Award American Legion Auxiliary Madeleine H. Berman Presented by Nolen V. Bivens, Presented by Anne Parsons Brigadier General, U.S. Army, (Ret) Accepted by Janet Jefford Lifetime Achievement Award Richard Serra Eli and Edythe Broad Award for 3 Presented by Jennifer Russell Philanthropy in the Arts Vicki and Roger Sant Arts Education Award Presented by The Honorable Christopher J. Dodd P.S. ARTS Presented by Ben Stiller Bell Family Foundation Young Artist Award Accepted by Joshua B. Tanzer David Hallberg Presented by RoseLee Goldberg Dinner Closing Remarks Robert L. Lynch introduction of Maria Bell Abel Lopez, Chair, Americans for the Arts Vice Chairman, Americans for the Arts Board of Board of Directors Directors and Chair, National Arts Awards and Robert L. Lynch Greetings from the Board Chair and President It is our pleasure to welcome you to our annual Americans for the Arts National Arts Awards. Tonight we again celebrate a select group of cultural leaders— groundbreaking artists, visionary philanthropists, and two outstanding nonprofit organizations—who help ensure that every American has access to the transformative power of the arts. We gratefully acknowledge the contributions of all of our honorees. In this time of increasing challenges to our nation’s security and the sacrifices made by our servicemen and women and their families, we are especially pleased to recognize the American Legion Auxiliary, one of our many partners in the work we do with the military and veterans on the role of the arts & healing. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) Worked in Various Careers Before Turning His Attention to Sculpture Full Time at the Age of Thirty
1950 Sculpture in Wood and Stone by Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) worked in various careers before turning his attention to sculpture full time at the age of thirty. His skills earned him a position as a professor of art at the University of Texas and commissions from many public and private institutions. His sculptures are created in various media, such as Lucite and steel. This exhibition of the California-based artist’s work presented thirty-seven of his sculptures. Barnes studied with Carl Milles (1875– 1955) at the Cranbrook Academy of Art. [File contents: exhibition flier] Color Compositions by June Wayne (March) June Wayne’s (1918–2011) work received publicity in an article by Jules Langsner, who praised her for developing techniques of drawing the viewer’s eye through imagery and producing a sense of movement in her subjects. Her more recent works (as presented in the show) were drawn from the dilemmas to be found in Franz Kafka’s works. [File contents: two articles, one more appropriate for a later show of 1953 in memoriam Director Donald Bear] Prints by Ralph Scharff (April) Sixteen pieces by Ralph Scharff (1922–1993) were exhibited in the Thayer Gallery. Some of the works included in this exhibition were Apocrypha, I Hate Birds, Walpurgisnacht, Winter 1940, Nine Cats, and Four Cows and Tree Oranges. Watercolors by James Couper Wright (April 3–April 15) Eighteen of James Couper Wright’s (1906–1969) watercolors were presented in this exhibition. Wright was born in Scotland, but made his home in Southern California for the previous eleven years. -
Carnegie Hall Was Born of the Vision of a Great Philanthropist, and to This Day the Generosity of Our Donors Is the Bedrock of Its Continued Donors Success
Carnegie Hall was born of the vision of a great philanthropist, and to this day the generosity of our donors is the bedrock of its continued Donors success. We thank our generous Trustees and the nearly 11,000 donors who contributed more than $27 million for the Annual Fund during the 2016–2017 season, enabling Carnegie Hall to continue the expansion of its artistic and education programs and strengthen its capacity to serve broad new audiences for years to come. Lee Chris Notables post-concert event 54 55 Platinum Circle ($50,000 to $99,999) E. H. A. Foundation Enoch Foundation Estate of Roger Abelson The Jack Benny Family Foundation Estate of Philip Chaves Ann and Gordon Getty Foundation Daniel Clay Houghton Blanche and Irving Laurie Foundation Mr. and Mrs. Terry J. Lundgren Rockefeller Brothers Fund Mr. Jay B. Rosenberg Suki Sandler Mrs. Henry T. Segerstrom Shubert Foundation Mr. and Mrs. A. J. C. Smith Anonymous (2) Hope and Robert F. Smith, Emily and Len Blavatnik, Sanford I. Weill, Mercedes T. Bass, and Clive Gillinson Beatrice Santo Domingo Golden Circle ($25,000 to $49,999) Mr. and Mrs. Frederick C. Benenson Donors Bialkin Family Foundation Ronald E. Blaylock The Edwin Caplin Foundation Platinum Circle Leslie and Tom Maheras The Ralph M. Cestone Foundation ($100,000 or more) Andrew J. Martin-Weber Mrs. Judith Chasanof Leni and Peter May Mr. and Mrs. Bruce Crawford Linda and Earle S. Altman The Harold W. McGraw, Jr. Family Foundation Mr. and Mrs. Richard A. Debs Estate of Brooke Astor The Andrew W. Mellon Foundation The Gladys Krieble Delmas Foundation Brooke Astor Fund for New York City Education in The New York Community Trust Mr. -
Volume 37 | Number 1
Volume 37|Number 1 INSIDE Director’s Letter: 3D Digital Here and Now Over the last fifteen years, there has been a profound transformation taking place in the way things are made, all across the world, and here in Bennington too. One of the most interesting aspects of this, for us, is actually how Bennington is tied in with the wider world. So it is very exciting for me to introduce Bennington Museum’s spring exhibition – 3D Digital: Here and Now. This show is about “high tech” but it’s not high tech as we usually understand it—the virtual world of apps and programming. This show is emphatically about the physical world. It’s also about the profound impact that digital design and automated fabrication are having on making and manufac- turing, both single objects, made by artists, and objects made thirty or thirty thousand at a time by industry. NASA 3D-Printed Habitat, “Mission to Mars,” 2015, Güvenç Özel (b. 1980), Digital simulation of 3D- printed Housing for Mars, Courtesy of the artist Producing tangible, 3-dimensional objects using CNC routers, 3D printing, laser cutters, and even digital 3D weaving On the surface, this show has a simple goal: to shine a light presents amazing new possibilities for designing and making on the sophisticated 3D digital design and fabrication going on shapes never possible before, for rapid prototyping, for speed in Bennington right now. We also want to illuminate how things and precision in fabrication, for making relatively small made in Bennington are having an impact around the globe. -
George Trescher Records Related to the Metropolitan Museum of Art Centennial, 1949, 1960-1971 (Bulk 1967-1970)
George Trescher records related to The Metropolitan Museum of Art Centennial, 1949, 1960-1971 (bulk 1967-1970) Finding aid prepared by Celia Hartmann and Arielle Dorlester Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on February 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] George Trescher records related to The Metropolitan Museum of Art Centennial, 1949, 1960-1971 (bulk ... Table of Contents Summary Information .......................................................................................................3 Biographical note.................................................................................................................4 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Arrangement note................................................................................................................ 7 Administrative Information .............................................................................................. 7 Related Materials .............................................................................................................. 7 Controlled Access Headings.............................................................................................. -
Oral History Interview with Nan Rosenthal, 2010 June 28-July 12
Oral history interview with Nan Rosenthal, 2010 June 28-July 12 This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Nan Rosenthal on 2010 June 28-July 12. The interview took place in New York, New York, and was conducted by Judith Richards for the Archives of American Art, Smithsonian Institution. This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project. Nan Rosenthal reviewed the first half of the transcript before her death and made corrections and emendations. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards interviewing Nan Rosenthal on June 28 , 2010 in New York City for the Archives of American Art, Smithsonian Institution, disc one. So Nan, I'd like to start by asking you about your family background, certainly back to your grandparents and especially if you knew them and anything else you'd want to say. NAN ROSENTHAL: Let's see. They're quite different. They were all nonreligious, ethnic Jews. On my father's side, my great-grandfather came here in the 1880s or so. JUDITH RICHARDS: What was his name? NAN ROSENTHAL: [Laughs.] His name was Herman Rosenthal and he was a poet and a scholar of Slavic literature. -
46 45 45 Issue
Week of April 15 - 22, 2016 • 7 - 14 Nissan, 5776 Vol. 9 • Issue 16 45 PAGE 6 PAGE 27 45 PREPARING THE DOUGH FOR BAKING SHMURAH MATZAH GOVERNOR KASICH VISITS THE CHILDREN AT SHEMA KOLAINU CAUSE FOR CONCERN IN ISRAEL WHEN THE PALESTINIANS HEAD TO THE UN 46 The key to stop the latest Palestinian Mahmoud Abbas, PA President is an isolated stance and veto a resolution. bid to get Israel denounced at the UN’s expected in December to promote yet On the one hand, there are several rea- Security Council lies with US President another try to get the UN to condemn sons to assume that the Obama adminis- Barack Obama. He will be in the uneasy Israel’s actions in East Jerusalem and the tration could abstain and allow it to pass. position of having to either veto a resolu- West Bank. The US needs Arab allies in its fight tion despite agreeing with its content, A uncovered draft of the planned against the Islamic State group and may or to refrain or support it, thus further resolution voices “grave concern” over not want to provoke them over the Pales- CHAZAQ EVENT FILLS THE ENTIRE HALL isolating America’s reliable ally in the fading hopes of a two-state solution and tinian question. Furthermore, Obama — Middle East and allowing political op- demands Israel to “immediately and who, during his last months in office is IN THIS WEEK’S ponents at home to portray his party as completely cease all settlement activities keen on leaving a tangible legacy in the anti-Israel.