Annual Report 2014–2015 MFAH by the NUMBERS July 1, 2014–June 30, 2015
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Graphic Recording by Terry Laban of the Global Health Matters Forum on March 25, 2020 Co-Hosted by Craftnow and the Foundation F
Graphic Recording by Terry LaBan of the Global Health Matters Forum on March 25, 2020 Co-Hosted by CraftNOW and the Foundation for Advancement of International Medical Education and Research With Gratitude to Our 2020 Contributors* $10,000 + Up to $500 Jane Davis Barbara Adams Drexel University Lenfest Center for Cultural Anonymous Partnerships Jeffrey Berger Patricia and Gordon Fowler Sally Bleznack Philadelphia Cultural Fund Barbara Boroff Poor Richard’s Charitable Trust William Burdick Lisa Roberts and David Seltzer Erik Calvo Fielding Rose Cheney and Howie Wiener $5,000 - $9,999 Rachel Davey Richard Goldberg Clara and Ben Hollander Barbara Harberger Nancy Hays $2,500 - $4,999 Thora Jacobson Brucie and Ed Baumstein Sarah Kaizar Joseph Robert Foundation Beth and Bill Landman Techné of the Philadelphia Museum of Art Tina and Albert Lecoff Ami Lonner $1,000 - $2,499 Brenton McCloskey Josephine Burri Frances Metzman The Center for Art in Wood Jennifer-Navva Milliken and Ron Gardi City of Philadelphia Office of Arts, Culture, and Angela Nadeau the Creative Economy, Greater Philadelphia Karen Peckham Cultural Alliance and Philadelphia Cultural Fund Pentimenti Gallery The Clay Studio Jane Pepper Christina and Craig Copeland Caroline Wishmann and David Rasner James Renwick Alliance Natalia Reyes Jacqueline Lewis Carol Saline and Paul Rathblatt Suzanne Perrault and David Rago Judith Schaechter Rago Auction Ruth and Rick Snyderman Nicholas Selch Carol Klein and Larry Spitz James Terrani Paul Stark Elissa Topol and Lee Osterman Jeffrey Sugerman -
Clara E. Sipprell Papers
Clara E. Sipprell Papers An inventory of her papers at Syracuse University Finding aid created by: - Date: unknown Revision history: Jan 1984 additions, revised (ASD) 14 Oct 2006 converted to EAD (AMCon) Feb 2009 updated, reorganized (BMG) May 2009 updated 87-101 (MRC) 21 Sep 2017 updated after negative integration (SM) 9 May 2019 added unidentified and "House in Thetford, Vermont" (KD) extensively updated following NEDCC rehousing; Christensen 14 May 2021 correspondence added (MRC) Overview of the Collection Creator: Sipprell, Clara E. (Clara Estelle), 1885-1975. Title: Clara E. Sipprell Papers Dates: 1915-1970 Quantity: 93 linear ft. Abstract: Papers of the American photographer. Original photographs, arranged as character studies, landscapes, portraits, and still life studies. Correspondence (1929-1970), clippings, interviews, photographs of her. Portraits of Louis Adamic, Svetlana Allilueva, Van Wyck Brooks, Pearl S. Buck, Rudolf Bultmann, Charles E. Burchfield, Fyodor Chaliapin, Ralph Adams Cram, W.E.B. Du Bois, Albert Einstein, Dorothy Canfield Fisher, Ralph E. Flanders, Michel Fokine, Robert Frost, Eva Hansl, Roy Harris, Granville Hicks, Malvina Hoffman, Langston Hughes, Robinson Jeffers, Louis Krasner, Serge Koussevitzky, Luigi Lucioni, Emil Ludwig, Edwin Markham, Isamu Noguchi, Maxfield Parrish, Sergei Rachmaninoff, Eleanor Roosevelt, Dane Rudhyar, Ruth St. Denis, Otis Skinner, Ida Tarbell, Howard Thurman, Ridgely Torrence, Hendrik Van Loon, and others Language: English Repository: Special Collections Research Center, Syracuse University Libraries 222 Waverly Avenue Syracuse, NY 13244-2010 http://scrc.syr.edu Biographical History Clara E. Sipprell (1885-1975) was a Canadian-American photographer known for her landscapes and portraits of famous actors, artists, writers and scientists. Sipprell was born in Ontario, Canada, a posthumous child with five brothers. -
The Pulitzer Prizes for International Reporting in the Third Phase of Their Development, 1963-1977
INTRODUCTION THE PULITZER PRIZES FOR INTERNATIONAL REPORTING IN THE THIRD PHASE OF THEIR DEVELOPMENT, 1963-1977 Heinz-Dietrich Fischer The rivalry between the U.S.A. and the U.S.S.R. having shifted, in part, to predomi- nance in the fields of space-travel and satellites in the upcoming space age, thus opening a new dimension in the Cold War,1 there were still existing other controversial issues in policy and journalism. "While the colorful space competition held the forefront of public atten- tion," Hohenberg remarks, "the trained diplomatic correspondents of the major newspa- pers and wire services in the West carried on almost alone the difficult and unpopular East- West negotiations to achieve atomic control and regulation and reduction of armaments. The public seemed to want to ignore the hard fact that rockets capable of boosting people into orbit for prolonged periods could also deliver atomic warheads to any part of the earth. It continued, therefore, to be the task of the responsible press to assign competent and highly trained correspondents to this forbidding subject. They did not have the glamor of TV or the excitement of a space shot to focus public attention on their work. Theirs was the responsibility of obliging editors to publish material that was complicated and not at all easy for an indifferent public to grasp. It had to be done by abandoning the familiar cliches of journalism in favor of the care and the art of the superior historian .. On such an assignment, no correspondent was a 'foreign' correspondent. The term was outdated. -
STUDY GUIDE Prepared by Maren Robinson, Dramaturg
by Susan Felder directed by William Brown STUDY GUIDE Prepared by Maren Robinson, Dramaturg This Study Guide for Wasteland was prepared by Maren Robinson and edited by Kerri Hunt and Lara Goetsch for TimeLine Theatre, its patrons and educational outreach. Please request permission to use these materials for any subsequent production. © TimeLine Theatre 2012 — STUDY GUIDE — Table of Contents About the Playwright ........................................................................................ 3 About the Play ................................................................................................... 3 The Interview: Susan Felder ............................................................................ 4 Glossary ............................................................................................................ 11 Timeline: The Vietnam War and Surrounding Historical Events ................ 13 The History: Views on Vietnam ...................................................................... 19 The Context: A New Kind of War and a Nation Divided .............................. 23 Prisoners of War and Torture ......................................................................... 23 Voices of Prisoners of War ............................................................................... 24 POW Code of Conduct ..................................................................................... 27 Enlisted vs. Drafted Soldiers .......................................................................... 28 The American -
I OCT/NOV 1988 142 Ne W Zealan D Pos T Offic E Headquarters , Y MULMN T UAVI U / Ur\^W !\ E M.^L/!« L
,j , , M.^L/!«L ur\^W!\e / UAVIU MULMNt Y CSA Preview is registered at New Zealand Post Office Headquarters, Wellington, as a magazine. PREVIE I OCT/NOV 1988 W 14 2 ~ The Journal of the Canterbury Society of Arts Gallery Hours A 66 Gloucester Street Christchurch, Monday-Friday 10am-4.30pm • I New Zealand P.O. Box 772, Christchurch Saturday-Sunday 2pm-4.30pm | Phone 667-261,667-167. PREVIEW SOCIETY Dr G W Rice Roto Art Exhibition Andrew Anderson Centreplace, Hamilton, November 20-26 1988 OFFICERS Mrs Lyndel Diedrichs Entry forms by 14 October Mark Steyn Apply to: Patron J D and A C Allan Roto Art '88 Patricia Wood His Excellency The Governor General P O Box 5083 Juliet Nicholas The Most Reverend Paul Reeves GCMG, DCL Frankton, Hamilton (Oxon) Mr and Mrs Cooke Mr and Mrs P M M Bradshaw NZ Academy of Fine Arts President Sue Syme Abstractions David Sheppard. A.N.Z.I.A.. M.N.Z.P.I. Jo Sutherland National Bank Art Award 1988 Pamela Jamieson Vice-Presidents Receiving days 7-8 November N A Holland and J L Whyte Bill Cumming Season 27 November-11 December Mary Bulow Mrs Doris Holland Dorset House Innovation in Craft Jewel Oliver Timothy Baigent National Provident Fund Art Award 1988 Michael Eaton, Dip. F.A., Dip. Tchg.. F.R.S.A. Jenny Murray Receiving days 26 and 27 September Nola Barron Robyn Watson Season 23 October-6 November John Coley, Dip. F.A., Dip. Tchg. Ailsa Demsem Entry forms available from: Tiffany Thornley Council NZ Academy of Fine Arts Karen Purchas Alison Ryde, T.T.C. -
University of Texas Press Fall 2016 & Spring 2017
fall 2016 & spring 2017 frankfurt university of texas press | Index by Title | contents About Antiquities, Books for the Trade ........................4–59 Çelik ............................. 112 Trade Backlist ......................... 13, 61–63 The American Idea of Home, Friedman .....................38–39 Books for Scholars......................64–123 Arresting Development, Award Winners...........................124–125 Pizzino............................96 Sales Information ........................... 126 At the Crossroads, Paquette ...................... 78–79 Sales Representatives ...................... 127 Batos, Bolilos, Pochos, and Pelados, Staff List................................. 128–129 Richardson & Pisani .............123 Index by Author..............................129 Becoming Belafonte, Smith .. 18–19 Blood of the Earth, Young . .84 Infrastructures of Race, Picturing the Proletariat, The Burden of the Ancients, Nemsey ...........................86 Christenson .......................73 Lear .............................. 81 Inka History in Knots, Cattle in the Backlands, The Portuguese-Speaking Diaspora, Wilcox ........................... .82 Urton . .94–95 Sadlier........................ 70–71 Chrissie Hynde, Sobsey.......54–55 Iowa, Rexroth.................34–37 Practicing Transnationalism, Lundy & Lundy..................116 Classics from Papyrus to the Internet, It Starts with Trouble, Hunt, Smith, Stok . .121 Davis.........................20–21 A Pure Solar World, Youngquist....................10 –11 Connecting with -
NATHAN LYONS: Final Chapter
NATHAN LYONS: Final Chapter March 27 - April 2, 2017 Reception: Friday March 31, 7-10pm Affirmation Arts 523 W 37th Street In honor of the renowned photographer, educator, lecturer, author, and curator Nathan Lyons, Bruce Silverstein is pleased to present, in association with Affirmation Arts, Nathan Lyons: Final Chapter. This exhibition marks the first occasion that this legendary artist’s color photographs will be seen by the public. It represents the fifth and final installment of a photographic opus spanning five decades, illustrating the artist’s intention of creating and transmitting a unique visual language through photography. This exclusive first look will be a prelude to his upcoming exhibition at the George Eastman Museum in 2019. Nearly 50 years have passed since the publication of his seminal book, Notations in Passing (1971), born out of his larger, extraordinary body of work bearing the same title. The images comprising this now-iconic compilation would be the artist’s first series of ‘snapshots’. This series sought to document the American ethos of 1962-1974 through the ubiquitous vernacular elements dispersed throughout the suburban landscape. Lyons would often focus on specific advertisements, posters, signage, drawings, and graffiti–lending a voice to the otherwise fading, forgotten script. Notations in Passing was also groundbreaking in its introduction of the artist's keen interest in photographic sequencing, often laying out seemingly disparate images in pairs, allowing a range of meaning to emerge through such juxtaposition. The snapshot, not as product but as process. Unpretentious and yet important, aspiring to nothing but a notation in passing. Things as they are, or what we make of them? In attempting to let objects be, objects and object spaces, to form simultaneously a neutral yet actively observational position, to combine ‘non-photographs’ as photographs. -
Our Choice of New and Emerging Photographers to Watch
OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH TASNEEM ALSULTAN SASHA ARUTYUNOVA XYZA BACANI IAN BATES CLARE BENSON ADAM BIRKAN KAI CAEMMERER NICHOLAS CALCOTT SOUVID DATTA RONAN DONOVAN BENEDICT EVANS PETER GARRITANO SALWAN GEORGES JUAN GIRALDO ERIC HELGAS CHRISTINA HOLMES JUSTIN KANEPS YUYANG LIU YAEL MARTINEZ PETER MATHER JAKE NAUGHTON ADRIANE OHANESIAN CAIT OPPERMANN KATYA REZVAYA AMANDA RINGSTAD ANASTASIIA SAPON ANDY J. SCOTT VICTORIA STEVENS CAROLYN VAN HOUTEN DANIELLA ZALCMAN © JUSTIN KANEPS APRIL 2017 pdnonline.com 25 OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH EZVAYA R © KATYA © KATYA EDITor’s NoTE Reading about the burgeoning careers of these 30 Interning helped Carolyn Van Houten learn about working photographers, a few themes emerge: Personal, self- as a photographer; the Missouri Photo Workshop helped assigned work remains vital for photographers; workshops, Ronan Donovan expand his storytelling skills; Souvid fellowships, competitions and other opportunities to engage Datta gained recognition through the IdeasTap/Magnum with peers and mentors in the photo community are often International Photography Award, and Daniella Zalcman’s pivotal in building knowledge and confidence; and demeanor grants from the Pulitzer Center on Crisis Reporting altered and creative problem solving ability keep clients calling back. the course of her career. Many of the 2017 PDN’s 30 gained recognition by In their assignment work, these photographers deliver pursuing projects that reflect their own experiences and for their clients without fuss. Benedict Evans, a client interests. Salwan Georges explored the Iraqi immigrant says, “set himself apart” because people like to work with community of which he’s a part. Xyza Bacani, a one- him. -
2014-2015 Impact Report
IMPACT REPORT 2014-2015 INTERNATIONAL WOMEN’S MEDIA FOUNDATION ABOUT THE IWMF Our mission is to unleash the potential of women journalists as champions of press freedom to transform the global news media. Our vision is for women journalists worldwide to be fully supported, protected, recognized and rewarded for their vital contributions at all levels of the news media. As a result, consumers will increase their demand for news with a diversity of voices, stories and perspectives as a cornerstone of democracy and free expression. Photo: IWMF Fellow Sonia Paul Reporting in Uganda 2 IWMF IMPACT REPORT 2014/2015 INTERNATIONAL WOMEN’S MEDIA FOUNDATION IWMF BOARD OF DIRECTORS Linda Mason, Co-Chair CBS News (retired) Dear Friends, Alexandra Trower, Co-Chair We are honored to lead the IWMF Board of Directors during this amazing period of growth and renewal for our The Estée Lauder Companies, Inc. Cindi Leive, Co-Vice Chair organization. This expansion is occurring at a time when journalists, under fire and threats in many parts of the Glamour world, need us most. We’re helping in myriad ways, including providing security training for reporting in conflict Bryan Monroe, Co-Vice Chair zones, conducting multifaceted initiatives in Africa and Latin America, and funding individual reporting projects Temple University that are being communicated through the full spectrum of media. Eric Harris, Treasurer Cheddar We couldn’t be more proud of how the IWMF has prioritized smart and strategic growth to maximize our award George A. Lehner, Legal Counsel and fellowship opportunities for women journalists. Through training, support, and opportunities like the Courage Pepper Hamilton LLP in Journalism Awards, the IWMF celebrates the perseverance and commitment of female journalists worldwide. -
Introduction
Introduction This collection of essays and reviews follows right on from Anglo- English Attitudes. The last piece in that book was written in 1999; the earliest one here is from the same year. To be honest, nothing much has changed in the interim. I write about whatever happens to interest me, sometimes accepting commissions from editors, sometimes writing pieces and sending them in on spec. A decade from now, by which time I’ll be in my sixties, I hope to have enough new mate- rial to bring out a third volume. You see, I’ve got tenure on this pecu- liarly vacant chair – or chairs, rather. It’s a job for life; more accurately, it is a life, and hardly a day goes by without my marvelling that it is somehow feasible to lead it. As in the earlier collection, there’s no area of specialised concern or expertise; on the contrary, the pleasure, hopefully, lies in the pick ’n’ mix variety, the way one thing leads to another (often Quite different) thing. Actually, one thing has changed: in the last ten years I’ve been asked to contribute introductions to Quite a few books, either re - issued literary classics or photographic monographs and catalogues. I love doing this and am especially grateful to the editors who somehow got wind of the idea that I was interested in Rebecca West or Richard Avedon or whoever and gave me the chance to get between the covers of a shared volume with them. This seems to me the greatest privilege that can be afforded any reader (even if it slightly under- mines the idea of being – as I claim in a piece to be found later in this volume – a gatecrasher). -
Empathy, Mood and the Artistic Milieu of New Orleans’ Storyville and French Quarter As Manifest by the Photographs and Lives of E.J
UNIVERSITY OF CALIFORNIA RIVERSIDE Seeing and Then Seeing Again: Empathy, Mood and the Artistic Milieu of New Orleans’ Storyville and French Quarter as Manifest by the Photographs and Lives of E.J. Bellocq and George Valentine Dureau A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Timothy J. Lithgow December 2019 Thesis Committee: Dr. Johannes Endres, Co-Chairperson Dr. Elizabeth W. Kotz, Co-Chairperson Dr. Keith M. Harris Copyright by Timothy J. Lithgow 2019 The Thesis of Timothy J. Lithgow is approved: Committee Co-Chairperson Committee Co-Chairperson University of California, Riverside Acknowledgements: Thank you to Keith Harris for discussing George Dureau on the first day of class, and for all his help since then. Thank you to Liz Kotz for conveying her clear love of Art History, contemporary arts and artists. Although not on my committee, thank you to Jeanette Kohl, for her thoughtful and nuanced help whenever asked. And last, but certainly not least, a heartfelt thank you to Johannes Endres who remained calm when people talked out loud during the quiz, who had me be his TA over and over, and who went above and beyond in his role here. iv Dedication: For Anita, Aubrey, Fiona, George, Larry, Lillian, Myrna, Noël and Paul. v Table of Contents Excerpt from Pentimento by Lillian Hellman ......................................................... 1 Introduction ............................................................................................................. 2 Chapter 1: Biographical Information for Dureau and Bellocq .......................... 18 Table 1 ...................................................................................................... 32 Excerpt from One Arm by Tennessee Williams.................................................... 34 Chapter 2: Colonial Foundations of Libertine Tolerance in New Orleans, LA .. -
Before Zen: the Nothing of American Dada
Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada.