Communication Arts 2020 Illustration Shortlist
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The Washington Spectator (ISSN Level of Importance We Were Attributing to It
The WA S H I N G T O N washingtonspectator.org SEPTEMBER 2020 vol. 46, no. 9 issn 0887-428x © 2020 The Public Concern Foundation SPECTATOR washingtonspectator.org continued to get traction. On August 10, Pat Robertson’s show Anatomy of Deceit: on the Christian Broadcasting Network carried an interview with Simone Gold and an endorsement of her hydroxychloroquine Team Trump Deploys cure. On August 21, Alex Jones’s NewsWars carried an interview with another member of America’s Frontline Doctors, Mark Doctors With Dubious McDonald. McDonald—a child psychiatrist—maintained, “If all Americans had access to hydroxychloroquine, the pandemic Qualifications to Push would essentially end in about 30 days.” Science has shown otherwise. Despite early hopes last spring, Fake Cure for Covid-19 there is mounting evidence that hydroxychloroquine is a prob- lematic—and even dangerous—treatment for Covid-19. One By Anne Nelson expert with firsthand knowledge is Nick Sawyer, an academic emergency physician in Sacramento, Calif. In July he wrote an n July 27, a dozen physicians posed in front article for Lifeline, the publication of the California chapter of of the Supreme Court in Washington, D.C., dressed the American College of Emergency Physicians, describing his O in white lab coats with “America’s Frontline Doctors” harrowing two weeks of service in the Covid wards of Elmhurst stitched over the pocket. The group’s chief Hospital in Queens. Sawyer was part of a spokesperson was Dr. Simone Gold, an team of California doctors dispatched by emergency physician from Los Angeles. Governor Gavin Newsom to offer emer- They were introduced by Jenny Beth Mar- gency assistance at the epicenter of the tin, the founding CEO of Tea Party Patriots, epidemic, at the height of the New York as participants in the “White Coat Summit.” City outbreak. -
The Washington Spectator Is Being the Fact Is, This Message Has Them Based on the Color of Published Bi-Monthly During Covid Presumably Convinced Some Their Skin
The WA S H I N G T O N washingtonspectator.org JULY/AUGUST 2021 vol. 47, no. 4 issn 0887-428x SPECTATOR © 2021 The Public Concern Foundation washingtonspectator.org delivered the largest and most reliable slice of the Trump elector- What’s Missing From ate. Dozens of featured speakers this year included Mike Pence, Ted Cruz, Marsha Blackburn, Ron DeSantis, Lindsey Graham, Popular Discussions and Madison Cawthorn. I came away from my listening experience in Kissimmee with of Today’s Christian a few surprises—or at least a few takeaways that may challenge some of the narratives that prevail in the center and on the left Nationalism about America’s Christian nationalist movement. The first is By Katherine Stewart that any Democrats who take comfort from the thought that demography is destiny are probably deluding themselves. The received wisdom on the center-left is that America’s homegrown f you want to know where the Republican authoritarian faction is an affair largely concentrated on an older, Party is headed, you need to set aside your assumptions whiter base that is just now exiting the stage of history with loud I and simply listen to grievances in hand. But what its leaders and activ- that’s not how the lead- ists say—especially when ers of the movement see they’re talking amongst things—and the broader themselves. As a reporter picture may indeed be a and author on the reli- bit more complex. gious right beat over the Of the many reli- past dozen years, I’ve gious-right strategy made a point of attending gatherings I’ve attended such meetings, especially over the years, this was those that focus on the among the most ethni- religious right leadership cally and racially diverse. -
What Inflamed the Iraq War?
Reuters Institute for the Study of Journalism Fellowship Paper, University of Oxford What Inflamed The Iraq War? The Perspectives of American Cartoonists By Rania M.R. Saleh Hilary Term 2008 1 ACKNOWLEDGEMENT I would like to express my deepest appreciation to the Heikal Foundation for Arab Journalism, particularly to its founder, Mr. Mohamed Hassanein Heikal. His support and encouragement made this study come true. Also, special thanks go to Hani Shukrallah, executive director, and Nora Koloyan, for their time and patience. I would like also to give my sincere thanks to Reuters Institute for the Study of Journalism, particularly to its director Dr Sarmila Bose. My warm gratitude goes to Trevor Mostyn, senior advisor, for his time and for his generous help and encouragement, and to Reuter's administrators, Kate and Tori. Special acknowledgement goes to my academic supervisor, Dr. Eduardo Posada Carbo for his general guidance and helpful suggestions and to my specialist supervisor, Dr. Walter Armbrust, for his valuable advice and information. I would like also to thank Professor Avi Shlaim, for his articles on the Middle East and for his concern. Special thanks go to the staff members of the Middle East Center for hosting our (Heikal fellows) final presentation and for their fruitful feedback. My sincere appreciation and gratitude go to my mother for her continuous support, understanding and encouragement, and to all my friends, particularly, Amina Zaghloul and Amr Okasha for telling me about this fellowship program and for their support. Many thanks are to John Kelley for sharing with me information and thoughts on American newspapers with more focus on the Washington Post . -
The Cooper Union for the Advancement of Science and Art Atcooper 2 | the Cooper Union for the Advancement of Science and Art
Winter 2008/09 The Cooper Union for the Advancement of Science and Art atCooper 2 | The Cooper Union for the Advancement of Science and Art Message from President George Campbell Jr. Union The Cooper Union has a history characterized by extraordinary At Cooper Union resilience. For almost 150 years, without ever charging tuition to a Winter 2008/09 single student, the college has successfully weathered the vagaries of political, economic and social upheaval. Once again, the institution Message from the President 2 is facing a major challenge. The severe downturn afflicting the glob- al economy has had a significant impact on every sector of American News Briefs 3 U.S. News & World Report Ranking economic activity, and higher education is no exception. All across Daniel and Joanna Rose Fund Gift the country, colleges and universities are grappling with the prospect Alumni Roof Terrace of diminished resources from two major sources of funds: endow- Urban Visionaries Benefit ment and contributions. Fortunately, The Cooper Union entered the In Memory of Louis Dorfsman (A’39) current economic slump in its best financial state in recent memory. Sue Ferguson Gussow (A’56): As a result of progress on our Master Plan in recent years, Cooper Architects Draw–Freeing the Hand Union ended fiscal year 2008 in June with the first balanced operat- ing budget in two decades and with a considerably strengthened Features 8 endowment. Due to the excellent work of the Investment Committee Azin Valy (AR’90) & Suzan Wines (AR’90): Simple Gestures of our Board of Trustees, our portfolio continues to outperform the Ryan (A’04) and Trevor Oakes (A’04): major indices, although that is of little solace in view of diminishing The Confluence of Art and Science returns. -
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. -
Annual Report 1975
mm ; mm .... : ' ^: NATIONAL GALLERY OF ART ANNUAL REPORT 1975 Property of the National Gallery of Art Library of Congress Catalog Card Number 70-173826 All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D C. 20565. Copyright © 1976, Board of Trustees, National Gallery of Art Inside cover photograph by Robert C. Lautman; photograph on page 91 by Helen Marcus; all other photographs by the photographic staff of the National Gallery of Art. Frontispiece: Bronze Galloping Horse, Han Dynasty, courtesy the People's Republic of China CONTENTS 6 ORGANIZATION 9 DIRECTOR'S REVIEW OF THE YEAR 20 DONORS AND ACQUISITIONS 47 LENDERS 50 NATIONAL PROGRAMS 50 Extension Program Development and Services 51 Art and Man 51 Loans of Works of Art 61 EDUCATIONAL SERVICES 61 Lectures, Tours, Texts, Films 64 Art Information Service 65 DEPARTMENTAL REPORTS 65 Curatorial Departments 66 Graphic Arts 67 Library 68 Photographic Archives 69 Conservation Treatment and Research 72 Editor's Office 72 Exhibitions and Loans 74 Registrar's Office 74 Installation and Design 75 Photographic Laboratory Services 76 STAFF ACTIVITIES 82 ADVANCED STUDY AND RESEARCH, AND SCHOLARLY PUBLICATIONS 86 MUSIC AT THE GALLERY 89 PUBLICATIONS SERVICE 90 BUILDING MAINTENANCE, SECURITY AND ATTENDANCE 92 APPROPRIATIONS 93 EAST BUILDING 94 ROSTER OF EMPLOYEES ORGANIZATION The 38th annual report of the National Gallery of Art reflects another year of continuing growth and change. Although formally established by Congress as a bureau of the Smithsonian Institution, the National Gallery is an autonomous and separately administered organization and is gov- erned by its own Board of Trustees. -
Evita 2016.Indd
2016/17 Season Sponsor: Seattle Opera Guild in memory of Marian E. Lackovich and Captain Louis J. Lackovich andCaptainLouisJ. inmemoryofMarian E.Lackovich Opera Guild 2016/17 SeasonSponsor:Seattle CALL MORE&BUYLEARN visit! duringyour Seattle SeasonsHotel 15%atFour save Plus and parkfree! allfive operasintheseason orselect three Choose any per opera! per for lessthan$50 TICKETS SEASON 206.389.7676 or800.426.1619 206.389.7676 seattleopera.org/travel4opera seattleopera.org/travel4opera © PhPhilip NewNeewtontoto EVITA ANDREW LLOYD WEBBER James W. Wright, General Director Table of Contents Jonathan Darlington, Music Director Under the distinguished patronage of Her Honour, The Honourable 5 The Cast Judith Guichon, OBC, Lieutenant Governor of British Columbia 7 VO Orchestra & VO Chorus Vancouver Opera 9 Synopsis Administration and Ticket Centre 13 Director's Notes The Michael and Inna O'Brian Centre for Vancouver Opera 1945 McLean Drive, 15 Program Notes Vancouver, BC, V5N 3J7 Administration: 604-682-2871 17 Production Insights Fax: 604-682-3981 VO Ticket Centre 19 Artists' Profi les (sponsored by Mission Hill Family Estate) 604-683-0222 [email protected] 26 Board of Directors www.vancouveropera.ca 31 Donors and Sponsors The photographing, videotaping or 50 VO Board & Staff, Foundation Board other video or audio recording of this production is strictly prohibited. Coming Next: Cover Art: Edel Rodriguez Editor Selina Rajani A LANDMARK SEASON OF OPERA, ART AND ENTERTAINMENT! Layout Excel Design • Hansel & Gretel Published by Archway Publishers as a special edition • The Inaugural Vancouver Opera Festival: Otello, Dead Man Walking, of Playboard Magazine, Volume 50, Number 11, April The Marriage of Figaro and more under the Festival Tent! 2016. -
Download Annual Report 2019-20
NEW BRITAIN MUSEUM OF AMERICAN ART Annual Report | 2019–2020 NBMAA ANNUAL REPORT 2019–2020 New Britain Museum of American Art Board Chair and Director’s Reports 4 Organization 16 Acquisitions and Loans 20 Development 34 Members 46 Volunteers 55 Finances 56 OUR THANKS TO NBMAA SUPPORTERS B M Fund MESSAGE FROM THE DIRECTOR We are honored and humbled to look back on a year marked by unprecedented challenges and setbacks, alongside substantial growth and marked victories for the NBMAA. In many ways, this past year will be remembered as one of extreme high and lows. Amid a five- month closure due to COVID-19, we came together as a Museum, conceiving new accessible online programs, art activities, and community outreach initiatives on a scale that we had never seen before. We also witnessed the nation face a reckoning in race relations, and in an effort to counter systematic racism in the art world, we at the NBMAA strengthened our commitment to expanding the dialog of equity, diversity, and inclusion that we activated years ago. Additionally, in 2020, exactly a century after the Women’s Suffrage Movement celebrated its landmark victory, the New Britain Museum of American Art is proud to recognize the extraordinary achievement of women artists through the 2020/20+ Women @ NBMAA initiative. An ambitious year- long series of groundbreaking exhibitions devoted exclusively to female-identifying artists, 2020/20+ Women @ NBMAA serves as just one part of our larger commitment to representing the ever-broadening scope of American art—a commitment that we will continue to strive towards, long into the future. -
Annual Report 2Oo8–2Oo9
annual report 2oo8–2oo9 4o years illustration art 1 president’s letter After the fabulous recognition and its citizens. Following inspiring speeches achievements of 2008, including the from other elected officials, Laurie receipt of the National Humanities Norton Moffatt honored the vision and Medal at the White House, I really tenacity of our Founding Trustees (all anticipated a “breather” of sorts in women), who represent both our proud 2009. Fortunately, as has become heritage and great potential. From Corner the tradition of Norman Rockwell House to New England Meeting House, Museum, new highs become the Norman Rockwell Museum has assumed launching pad for new possibilities, its rightful position among our nation’s and 2009 was no exception! most visited cultural monuments. 2009 was indeed a watershed year The gathering of three generations for the Museum as we celebrated of the Rockwell family was a source our 40th anniversary. This milestone of great excitement for the Governor, captured in all its glory the hard work, our Founding Trustees, and all of us. We vision, and involvement of multiple were privileged to enjoy the sculptures generations of staff, benefactors, of Peter Rockwell, Rockwell’s youngest friends, and neighbors. son, which were prominently displayed across our bucolic campus and within Celebrating our 40th anniversary was our galleries. It was an evening to be not confined to our birthday gala on July remembered. 9th, but that gathering certainly was its epicenter. With hundreds of Museum american MUSEUMS UNDER -
Annual Report 2O11–2O12
annual report 2o11–2o12 1 FY 11/12 home of american illustration art president & chairman’s letter 4 director’s report fiscal year 2011-2o12 5 9 curatorial 10 acquisitions 20 exhibitions 23 education & visitor experience 25 measures of success 27 advancement 29 finance & administration contributors & donors 31 staff 35 in memoriam 36 3 FY 11/12 president & chairman’s letter Dear Friends of Norman Rockwell Museum, On behalf of our fellow Trustees, we are happy to present the 2011-2012 Annual Report of Norman Rockwell Museum. This comes with a magnificent account of the year’s exhibitions in Stockbridge and across the nation, educational and community programs, scholarship to advance illustration art, and curatorial achievements. This remarkable Museum does all of this and more, inspired by the values Norman Rockwell depicted in his iconic paintings. His works portray freedom, tolerance, humanity and kindness, integrity, honesty, and authenticity along with a joyfulness and celebration of life. These values inspire our visitors and staff alike. The Museum concluded its fiscal year on June 30, 2012 in a strong position. As noted a year ago, we eliminated our long-term debt. This year we are pleased to report that we have no short-term Norman Rockwell Museum President Anne Morgan borrowing on our balance sheet. Annual attendance at the Museum has generated good revenue, and and Chairman Thomas we saw nationwide interest and attendance grow for our traveling exhibition program as well. L. Pulling. We are especially grateful for the generosity of our members and donors who care so deeply for this national treasure in the Berkshires. -
FALL 2021 COURSE BULLETIN School of Visual Arts Division of Continuing Education Fall 2021
FALL 2021 COURSE BULLETIN School of Visual Arts Division of Continuing Education Fall 2021 2 The School of Visual Arts has been authorized by the Association, Inc., and as such meets the Education New York State Board of Regents (www.highered.nysed. Standards of the art therapy profession. gov) to confer the degree of Bachelor of Fine Arts on graduates of programs in Advertising; Animation; The School of Visual Arts does not discriminate on the Cartooning; Computer Art, Computer Animation and basis of gender, race, color, creed, disability, age, sexual Visual Effects; Design; Film; Fine Arts; Illustration; orientation, marital status, national origin or other legally Interior Design; Photography and Video; Visual and protected statuses. Critical Studies; and to confer the degree of Master of Arts on graduates of programs in Art Education; The College reserves the right to make changes from Curatorial Practice; Design Research, Writing and time to time affecting policies, fees, curricula and other Criticism; and to confer the degree of Master of Arts in matters announced in this or any other publication. Teaching on graduates of the program in Art Education; Statements in this and other publications do not and to confer the degree of Master of Fine Arts on grad- constitute a contract. uates of programs in Art Practice; Computer Arts; Design; Design for Social Innovation; Fine Arts; Volume XCVIII number 3, August 1, 2021 Illustration as Visual Essay; Interaction Design; Published by the Visual Arts Press, Ltd., © 2021 Photography, Video and Related Media; Products of Design; Social Documentary Film; Visual Narrative; and to confer the degree of Master of Professional Studies credits on graduates of programs in Art Therapy; Branding; Executive creative director: Anthony P. -
American Realists and Magic Realists Edited by Dorothy C
American realists and magic realists Edited by Dorothy C. Miller and Alfred H. Barr, jr., with statements by the artists and an introduction by Lincoln Kirstein Author Museum of Modern Art (New York, N.Y.) Date 1943 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2854 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE MUSEUM OF MODERN LIBRARY Museumof ModernArt ARCHIVE PLO.SEBETURH TOO FFICEOF lONROfc Retrospective Alexander, p. 19 Audubon, p. 11 Bingham, p. 14 Cole, p. 12 Eakins, p. 17 Field, p. 18 Goodwin, p. 62 AMERICAN Harnett, p. 20 Hicks, p. 13 Homer, p. 16 Kensett, p. 16 Mount, p. 15 Peale, p. 9 Real ists Watrous, p. 21 C ontemporary HOPPER, p. 22 and SHEELER, p. 23 ALBRIGHT, p. 24 Magic Real ists ATHERTON, p. 26 BLUME, p. 28 BULLER, p. 34 CADMUS, p. 30 CARTER, p. 32 CARTIER, p. 35 FRENCH, p. 36 GUGLIELMI, p. 38 HARARI, p. 40 Edited by Dorothy C. Miller and Alfred H. HELDER, p. 42 Barr Jr., with statements by the artists HURD, p. 41 and an introduction by Lincoln Kirstein KUPFERMAN, p. 43 LEWANDOWSKI, p. 44 LOZOWICK, p. 47 LUX, p. 46 PAPSDORF, p. 48 RAIN, p. 49 ROTHSCHILD, p. 50 SANTO, p. 51 SHAHN, p. 52 SUBA, p. 56 SULLIVAN, p. 54 WENGENROTH, p. 57 THE MUSEUM OF MODERN ART WYETH, p.