John Mccracken Born 1934 in Berkeley, California
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U.S. Pavilion Fact Sheet
U.S. PAVILION FACT SHEET The U.S. Pavilion at the Venice Biennale is a Palladian-style structure built in 1930 by the architects William Adams Delano and Chester Holmes Aldrich. The pavilion is situated within the Castello Gardens that house all the national pavilions of the Venice Biennale. In 1986, the Solomon R. Guggenheim Foundation purchased the U.S. Pavilion from The Museum of Modern Art, New York with funds provided by the Peggy Guggenheim Collection Advisory Board. Beginning in 1986 the Peggy Guggenheim Collection worked with the United States Information Agency (USIA) (1986-1999), the Fund for U.S. Artists at International Festivals and Exhibitions (1986-2003) and the U.S. Department of State (2000- present) in the organization of the visual arts and architecture exhibitions at the U.S. Pavilion. The official U.S. representation at the 52nd Venice Biennale has been organized by the Solomon R. Guggenheim Museum and is presented by the Bureau of Educational and Cultural Affairs of the U.S. Department of State. U.S. PAVILION COMMISSIONS 1986 - 2007 1986 42nd International Exhibition of Art Isamu Noguchi What is Sculpture? Organized by P.S.1, The Institute for Art and Urban Resources, Inc., Long Island City, New York Commissioner: Henry Geldzahler 1988 43rd International Exhibition of Art Jasper Johns Work since 1974 Organized by the Philadelphia Museum of Art Commissioner: Mark Rosenthal 1990 44th International Exhibition of Art Jenny Holzer The Venice Installation Organized by the Albright-Knox Art Gallery, Buffalo, New York Commissioner: -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Rembrandt in Southern California Exhibition Guide
An online exhibition exploring paintings by Rembrandt in Southern California. A collaboration between The Exhibition Rembrandt in Southern California is a virtual exhibition of paintings by Rembrandt Harmensz. van Rijn (Dutch, 1606–1669) on view in Southern California museums. This collaborative presentation offers a unique guide to exploring these significant holdings and provides information, suggested connections, and points of comparison for each work. Southern California is home to the third-largest assemblage of Rembrandt paintings in the United States, with notable strength in works from the artist’s dynamic early career in Leiden and Amsterdam. Beginning with J. Paul Getty’s enthusiastic 1938 purchase of Portrait of Marten Looten (given to LACMA in 1953; no. 9 in the Virtual Exhibition), the paintings have been collected over 80 years and are today housed in five museums, four of which were forged from private collections: the Hammer Museum, the J. Paul Getty Museum, and the Los Angeles County Museum of Art (LACMA) in Los Angeles; the Norton Simon Museum in Pasadena; and the Timken Museum of Art in San Diego. In addition, Rembrandt in Southern California provides insight into the rich holdings of etchings and drawings on paper by the master in museums throughout the region. Together, Southern California’s drawn, etched and painted works attest to the remarkable range of Rembrandt’s achievement across his long career. Self-Portrait (detail), about 1636–38. Oil on panel, 24 7/8 x 19 7/8 in. (63.2 x 50.5 cm). The Norton Simon Foundation, Pasadena, F.1969.18.P 1 NO. -
The Impact of the Compact by Dr. Mario Garcia
THE IMPACT OF THE COMPACT BY DR. MARIO GARCIA AN IN-DEPTH INVESTIGATION WITH CASE STUDIES INCLUDING: OF THE RENAISSANCE 20 Cent, Germany OF THE TABLOID FORMAT 24 SATA, Croatia Bohuslaningen, Sweden Crain’s Chicago Business, USA De Standaard, Belgium Diario de Noticias, Portugal El Litoral, Argentina El Mercurio, Chile Goteborgs Posten, Sweden Het Parool, Holland Kleine Zeitung, Austria Liberation, France Newsday, USA Philadelphia Weekly, USA VERSION 1.0 Quick, USA A GARCIA MEDIA WHITE PAPER Reflejos, USA APRIL 25, 2005 S.F. Examiner, USA THE IMPACT OF THE COMPACT 1 The big buzz about small formats E VERYTHING MAKES A COMEBACK. There is an eternal renaissance of essential things. In journalism, design, literature and art. Things tend to simplify themselves. As life in big cities turns more chaotic, technology becomes more accessible with wireless, fast communication available to larger mass- es of the population. For the printed media, this translates into smaller formats, more reader-friendly for users who seek simpler storytelling, quicker messages, and who seem to prefer, as in everything else, the smaller packages. In the case of newspapers, we have had to wait a long time and climb a steep mountain to get to this exciting moment in which more newspapers are look- ing at smaller formats as an option. For many, it is already a reality. Conversion from broadsheet to tabloid has paid off: Readers like it, advertisers get used to it faster than anyone thought, and the “wave” of tabloid conversions extends globally. Even the United States is taking a peek into what some of their news- papers will look like in a format other than the huge broadsheet that has served as the canvas for decades. -
Unpacking the Vault: Hidden Narratives in the Bennington Art Collection
Unpacking the Vault: Hidden Narratives in the Bennington Art Collection Feb. Z7-April 15, 2018 A two-phase exhibition co-curated bystudents Over seven weeks in fall 2017, students delved into the campus art-storage space known as '""the vault." They researched objects familiar and unknown, seeking narrative strains connecting artworks to the college and to each ot her. The resulting exhibition is the first of college art holdings curated by a Bennington class. It reveals and honors the eclectic nature of a collection that, known for mid-century abstraction, also contains surprises from w ithin and beyond that art-historical moment. More broadly, "Unpacking the Vault" identifies core themes and agents in the making, distribution, and acquisition of art. Organized in t hematic clusters, objects play a "six degrees of separation" game of individuals, institutions and modes of collecting. This strategy resists hierarchy and celebrates the miscellaneous, finding common ground for a range of styles, time periods, and artists. "Unpacking the Vault" also engages Benn ington history by transforming Usdan Gallery into a hybrid gallery/clas sroom, symbolically fulfilling design plans from the 1960s envisioning a dedicated space, under the gallery and adjacent to the vault, for studying t he art collection. Because of the range of works owned by the college, the exhibition will evolve. "Phase one" opens with arrangements determined by the fall class. In spring 2018, a new class takes over to create "phase two," transforming the show with additional artworks and themes. An informal "catalog" of documents gives background on artists and donors, highlighting when possible how a rtworks entered the Bennington holdings. -
Jackson Pollock & Tony Smith Sculpture
Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt. -
Download the Paper (PDF)
Joan Shorenstein Center on the Press, Politics and Public Policy Discussion Paper Series Leading the Way to Better News: The Role of Leadership in a World Where Most of the “Powers That Be” Became the “Powers That Were” By Geoffrey Cowan Shorenstein Center Fellow, Fall 2007 University Professor and Annenberg Family Chair in Communication Leadership, University of Southern California February 15, 2008 #D-44 © 2008 President and Fellows of Harvard College. All rights reserved. Abstract During the past several years, as traditional news operations have faced sharp declines in circulation, advertising, viewership, and audiences, and as they have begun to make a seemingly unrelenting series of cuts in the newsroom budgets, scholars and professionals have been seeking formulas or models designed to reverse the trend. During those same years, many of the major news organizations that dominated the landscape a generation ago, those that David Halberstam called “The Powers That Be,” have lost their leadership role and been absorbed by other companies. This paper argues that while there is good reason to worry about the decline in what might be called “boots-on-the-ground” journalism, there are reasons to be hopeful. While most of those concerned with the topic have urged structural changes in ownership, this paper argues that the key is leadership. To understand the demands on leaders, it is essential to understand which of three motives is most important to the publication’s owners: profits, influence, or personal prestige. Each motive presents distinct challenges and opportunities. Looking at the fate of a number of large media organizations over the past decade, the paper argues that the most important model for success is outstanding leadership that combines a talent for business, entrepreneurship and innovation with a profound commitment to great journalism. -
Dormant Foreign Affairs Preemption and Von Saher V
Minnesota Journal of Law & Inequality Volume 28 Issue 2 Article 6 December 2010 Dormant Foreign Affairs Preemption and Von Saher v. Norton Simon Museum: Complicating the Just and Fair Solution To Holocaust-Era Art Claims Mikka Gee Conway Follow this and additional works at: https://lawandinequality.org/ Recommended Citation Mikka G. Conway, Dormant Foreign Affairs Preemption and Von Saher v. Norton Simon Museum: Complicating the Just and Fair Solution To Holocaust-Era Art Claims, 28(2) LAW & INEQ. 373 (2010). Available at: https://scholarship.law.umn.edu/lawineq/vol28/iss2/6 Minnesota Journal of Law & Inequality is published by the University of Minnesota Libraries Publishing. Dormant Foreign Affairs Preemption and Von Saher v. Norton Simon Museum: Complicating the "Just and Fair Solution" to Holocaust-Era Art Claims Mikka Gee Conwayt Introduction In Von Saher v. Norton Simon Museum,' the Court of Appeals for the Ninth Circuit struck down a California law extending the statute of limitations for Holocaust-era art restitution claims against museums. 2 It affirmed the district court's holding that the statute was preempted by the federal foreign relations power, reversed the determination that the claim was time-barred under the regular California statute of limitations for stolen property, and remanded the case.3 The decision prolongs a dispute between the sole heir of a prominent Jewish art dealer in Amsterdam whose collection was seized by Nazi agents in 1940, and the California museum that later purchased two paintings from that collection. 4 Von Saher seems to be a straightforward application of a line of Ninth Circuit and Supreme Court precedent preempting state action that intrudes on the federal province of foreign relations.5 But, viewed in light of this precedent and its particular facts, Von Saher is a flawed decision that highlights problems with the rarely invoked and constitutionally infirm doctrine of dormant foreign affairs t. -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
Teresita Fernández
TERESITA FERNÁNDEZ Born Miami, FL, 1968 Lives Brooklyn, NY EDUCATION 1992 MFA, Virginia Commonwealth University, Richmond, VA 1990 BFA, Florida International University, Miami, FL HONORS AND DISTINCTIONS 2017 National Academician, National Academy Museum & School, New York, NY Mayoral Advisory Commission on City Art, Monuments, and Markers, New York, NY The Drawing Center 40th Anniversary Honoree, New York, NY 2016 Visionary Artist Honoree, Art in General, New York, NY 2013 Aspen Award for Art, The Aspen Art Museum, Aspen, CO 2011 Presidential Appointment to the U.S. Commission of Fine Arts (served until 2014) 2005 MacArthur Foundation Fellowship 2003 Guggenheim Fellowship, New York, NY 1999 Louis Comfort Tiffany Biennial Award American Academy in Rome, Affiliated Fellowship 1995 National Foundation for Advancement in the Arts, CAVA Fellowship Metro-Dade Cultural Consortium Grant 1994 NEA Individual Artist's Grant, Visual Arts Cintas Fellowship COMMISSIONS AND SPECIAL PROJECTS 2019 Night Writing, Park Tower at Transbay, San Francisco, CA New Orleans Museum of Art Commission, New Orleans, LA 2015 Double Glass River, Grace Farms, New Canaan, CT Fata Morgana, Madison Square Park, New York, NY* 2014 Golden (Panorama), Aspen Art Museum, Elk Camp, Aspen, CO 2013 Nocturnal (Navigation), United States Coast Guard, Washington, D.C. 2012 Yellow Mountains, Louis Vuitton Shanghai, Shanghai, China Ink Sky, Louis Vuitton Place Vendôme, Paris, France 2010 Angel Building Commission, London, United Kingdom Louis Vuitton Commission, Biennale des Antiquaries, -
The Nebraska Transcript, Spring 2016, Vol. 49 No.1
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The eN braska Transcript Law, College of Spring 2016 The eN braska Transcript, Spring 2016, Vol. 49 No.1 Follow this and additional works at: http://digitalcommons.unl.edu/nebtranscript Part of the Law Commons "The eN braska Transcript, Spring 2016, Vol. 49 No.1" (2016). The Nebraska Transcript. 21. http://digitalcommons.unl.edu/nebtranscript/21 This Article is brought to you for free and open access by the Law, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The eN braska Transcript by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Nebraska RANSCRIPT T University of Nebraska College of Law Former Dean Susan Poser begins new chapter at UIC Also in this issue: Works, Kirst and Lyons retire with combined 123 years of service Pittman appointed to top position in The United Nations Spring 2016, Vol. 49 No. 1 Nebraska Law Table of Contents Spring 2016, Vol. 49 No.1 Dean’s Message 2 Dean’s Message Faculty Updates 4 Works, Kirst & Lyons retirement 6 Faculty Notes Around the College 17 Moberly appointed interim dean 18 Berger, assoicate dean 18 Sullivan joins Law College 19 Beard & Hurwitz named Trailblazers Feature 20 Poser closes UNL chapter Around the College 23 3L gains policy work experience 24 ILSA hosts USPTO’s Morris 25 West African leaders share insight 26 McCoy joins admissions office 27 BYC Boost program 28 Collingsworth, Dean’s roundtable 29 Yale’s Langbein delivers lecture 30 Heiliger, Sheldon at UNK 31 Vinton competes on Jeopardy 32 LL.M., Carns earns promotion 32 Law Team wins Ag Law Quiz Bowl 34 December 2015 commencement Poser ends deanship, service at UNL Our Alumni Susan Poser concluded her time as dean of the College of Law on 36 Curtiss visits Entreprenuership Clinic January 27, 2016, to join the University of Illinois-Chicago as its 37 Pittman promoted to head of chamber provost and senior vice chancellor for academic affairs. -
Chancellor Search
University of Nebraska–Lincoln CHANCELLOR SEARCH October 2015 Contents University of Nebraska-Lincoln Chancellor Profile Appendix AN INVITATION FOR NOMINATIONS & APPLICATIONS 3 UNIVERSITY LEADERSHIP Organizational Framework 4 University Board of Regents and President 16 About the University of Nebraska-Lincoln 5 Campus Leadership Organization Chart 17 UNL’s Fundamental Missions 5 UNL OVERVIEW Student Life and Athletics 7 Husker Athletics 18 Role of the Chancellor 8 Nebraska Innovation Campus 18 Key Opportunities and Challenges for the Next Chancellor 8 Institute of Agriculture and Natural Resources 19 Qualifications and Experience 11 Nebraska College of Technical Agriculture 19 Location 13 College of Agricultural Sciences and Natural Resources 20 The Search Advisory Committee 13 College of Architecture 20 The Search Process 14 College of Arts and Sciences 20 Nebraska Public Records 15 College of Business Administration 20 College of Education and Human Sciences 21 College of Engineering 21 Hixson-Lied College of Fine and Performing Arts 21 College of Journalism and Mass Communications 21 College of Law 22 Office of Graduate Studies 22 University Libraries 22 UNIVERSITY-WIDE INSTITUTES Robert B. Daugherty Water for Food Institute 22 National Strategic Research Institute 23 Buffett Early Childhood Institute 23 Rural Futures Institute 23 Peter Kiewit Institute 23 AFFILIATED ENTITIES Nebraska Alumni Association 24 Lied Center for Performing Arts 24 Nebraska Educational Telecommunications 24 International Quilt Study Center and Museum 24 Mary Riepma Ross Media Arts Center 25 Sheldon Museum of Art 25 University of Nebraska State Museum 25 University of Nebraska Press 25 University of Nebraska Foundation 26 | 2 | University of Nebraska-Lincoln Chancellor Profile Search for the Chancellor An Invitation for Nominations and Applications University of Nebraska President Hank Bounds invites nominations and applications for the position of chancellor of the University of Nebraska–Lincoln (UNL).