Priations for Fiscal Year 2019
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Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 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. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
MSA 7 Program (Draft 10.17)
MSA 7 Program (Draft 10.17) Session A: Thursday, 3:00–5:00 pm Panel 1. Manuscript Research and Modernist Studies Newberry Library, 60 W. Walton St. Bus transportation between the Newberry Library and the conference hotel is available ORGANIZER AND CHAIR: John Timberman Newcomb, University of Illinois – Urbana-Champaign George Bornstein, University of Michigan Laura Milsk Fowler, Southern Illinois University Edwardsville Lawrence Rainey, University of York Seminars 2. Modernism at Home Chicago Ballroom A—No auditors, please ORGANIZER: Gail McDonald, University of North Carolina – Greensboro Dawn Blizard, Brown University Allison Carey, Cannon School Dorothy Chansky, Texas Tech University Bradley Clissold, Memorial University of Newfoundland Barbara Green, University of Notre Dame Kevin Hagopian, Pennsylvania State University Amy E. C. Linneman, Indiana University Marion McInnes, DePauw University Phoebe Putnam, Harvard University Jin Xiaotian Skye, University of Hong Kong Eve Sorum, University of Michigan 3. The Author Business Chicago Ballroom B—No auditors, please ORGANIZER: Alison Booth, University of Virginia Patrick Collier, Ball State University Marianne Cotugno, Miami University Maria Fackler, Yale University Julia Friedman, Brown University Peter Kalliney, University of South Florida Kurt M. Koenigsberger, Case Western Reserve University Bette London, University of Rochester Randi Saloman, Yale University Lisa Stein, Ohio University Catherine Turner, College Misericordia Andrea Zemgulys, University of Michigan 4. Anthropological -
Pressionism,Which Was Haven't Lookedat in a Long Time," Stillgoing Strongafter Maciejunessaid "It's Interestingto See World Wari
+ aynm Feran "Precisionism in DispatchEntertainment Reporter America■ 1915-1941: ReorderingReality" N 1915, ARTISTMARcEL DUCHAMP will openSunday proclaimedthe UnitedStates and continue "thecountry of theart of the throughJuly 4 at future." the Columbus "Look atthe skyscrapers!"he Museum of Art, said"Has Europe anything to 480 E. BroadSt. show more beautifulthan these?" Tourswill begiven The Frenchman's words at noonMay 26 and focusedattention on what was June 16, and 2 p.m. e seen as auniquely American artistic May 28and June movement. 18. Call 221-6801. "Precisionismin America1915-1941: ReorderingReality" is "thefirst major study of precisionismin a long time,"said NannetteMaciejunes, seniorcurator at the ColumbusMuseum of Art. "Precisionismis verytied up withthe search for a ABoVE:The cleanlines of rural unique Americanidentity," scenes: Bucks OHmJy Barn(1918) t she said"It wasabout the " by Charles Sheeler(1883-1965) tyingof a ruralpast to the mechanicalfuture. A lot of LEFT:The forms of the machine • people in the'.20s called it agewith classicalclarity: A.ugussin 'thetrue American art.' " andNu:oletle (1923)by Charles By the timeprecisionism Demuth (1883-1935) arrived,the United States waswell on itsway froma - ruralsociety to a nationof show,which began at theMontclair Art 0 big citieswith skyscrapers Museumin New Jerseyand features andhomes withmodern works by 26 artistsfrom almost 30 I marvelssuch asvacuum institutionsand private collections. cleanersand washing "Thisshow is so criticalto us," � �es. Maciejunes said"(Ferdinand) Rowald !'!. Painters and was majora collector in thisarea. He saw photographersassociated theparallel between cubism and �� withprecisionism included precisionism, andhe collected both." iii CharlesDemuth, Morton Althoughmany works in theNew I Scharnberg,Charles Sheeler Jerseyexhibition are not availablefor the s andJoseph Stella. -
Historic House Museums
HISTORIC HOUSE MUSEUMS Alabama • Arlington Antebellum Home & Gardens (Birmingham; www.birminghamal.gov/arlington/index.htm) • Bellingrath Gardens and Home (Theodore; www.bellingrath.org) • Gaineswood (Gaineswood; www.preserveala.org/gaineswood.aspx?sm=g_i) • Oakleigh Historic Complex (Mobile; http://hmps.publishpath.com) • Sturdivant Hall (Selma; https://sturdivanthall.com) Alaska • House of Wickersham House (Fairbanks; http://dnr.alaska.gov/parks/units/wickrshm.htm) • Oscar Anderson House Museum (Anchorage; www.anchorage.net/museums-culture-heritage-centers/oscar-anderson-house-museum) Arizona • Douglas Family House Museum (Jerome; http://azstateparks.com/parks/jero/index.html) • Muheim Heritage House Museum (Bisbee; www.bisbeemuseum.org/bmmuheim.html) • Rosson House Museum (Phoenix; www.rossonhousemuseum.org/visit/the-rosson-house) • Sanguinetti House Museum (Yuma; www.arizonahistoricalsociety.org/museums/welcome-to-sanguinetti-house-museum-yuma/) • Sharlot Hall Museum (Prescott; www.sharlot.org) • Sosa-Carrillo-Fremont House Museum (Tucson; www.arizonahistoricalsociety.org/welcome-to-the-arizona-history-museum-tucson) • Taliesin West (Scottsdale; www.franklloydwright.org/about/taliesinwesttours.html) Arkansas • Allen House (Monticello; http://allenhousetours.com) • Clayton House (Fort Smith; www.claytonhouse.org) • Historic Arkansas Museum - Conway House, Hinderliter House, Noland House, and Woodruff House (Little Rock; www.historicarkansas.org) • McCollum-Chidester House (Camden; www.ouachitacountyhistoricalsociety.org) • Miss Laura’s -
Knife Grinder Date: 1912-1913 Creator: Umberto Boccioni, Italian, 1882-1916 Title: Dynamism of a Soccer Player Work Type: Painting Date: 1913 Cubo-Futurism
Creator: Malevich, Kazimir, Russian, 1878- 1935 Title: Knife Grinder Date: 1912-1913 Creator: Umberto Boccioni, Italian, 1882-1916 Title: Dynamism of a Soccer Player Work Type: Painting Date: 1913 Cubo-Futurism • A common theme I have been seeing in the different Cubo- Futurism Paintings is a wide variety of color and either solid formations or a high amount of single colors blended or layered without losing the original color. I sense of movement is also very big, the Knife Grinder shows the action of grinding by a repeated image of the hand, knife, or foot on paddle to show each moment of movement. The solid shapes and designs tho individually may not seem relevant to a human figure all come together to show the act of sharpening a knife. I Love this piece because of the strong colors and repeated imagery to show the act. • In the Dynamism of a soccer player the sense of movement is sort of around and into the center, I can imagine a great play of lights and crystal clarity of the ideas of the objects moving. I almost feel like this is showing not just one moment or one movement but perhaps an entire soccer game in the scope of the 2D canvas. Creator: Demuth, Charles, 1883-1935 Title: Aucassin and Nicolette Date: 1921 Creator: Charles Demuth Title: My Egypt Work Type: Paintings Date: 1927 Precisionism • Precisionism is the idea of making an artwork of another “artwork” as in a piece of architecture , or machinery. The artist renders the structure using very geometric and precise lines and they tend to keep an element of realism in their work. -
Guggenheim Museum Archives Reel-To-Reel Collection “Post Object Sculpture” with Jack Burnham, 1967 Good Afternoon, Ladies An
Guggenheim Museum Archives Reel-to-Reel collection “Post Object Sculpture” with Jack Burnham, 1967 MALE 1 Good afternoon, ladies and gentlemen, and welcome to the third in a series of lectures on contemporary sculpture, presented by the museum on the occasion of the Fifth Guggenheim International Exhibition. Today’s lecture is by Mr. Jack Wesley Burnham. Mr. Burnham is an individual who combines the extraordinary qualities of being both artist and scientist, as well as writer. He was born in 1931 in New York City. He studied at the Boston Museum School, at the Massachusetts Institute of Technology. He holds an engineering degree. He holds the degrees of Bachelor of Fine Arts and Master of Fine Arts from Yale University, at which institution he was on the faculty. [00:01:00] And he’s at present a professor at Northwestern University. He is the author of a major new study of modern sculpture, to be published next year by Braziller in New York, entitled Beyond Modern Sculpture. His lecture today is entitled, “Post-Object Sculpture.” After the lecture, there will be a short question-and-answer period. Mr. Burnham. JACK BURNHAM Mr. [Fry?], I’d like to thank you for inviting me. And I’d like to [00:02:00] thank all of you for being here today. I’m going to read part of this lecture, and part of it will be fairly extemporaneous. But I’d like to begin by saying that I find the task of speaking on post- object sculpture difficult for two reasons. First, because the rationale behind object sculpture and the art form itself have developed to such a sophisticated degree in the past two years. -
Lost and Found: the Process of Historic Preservation in Lucas
In Memory of my grandmother, Loretta J. Bowlin and my dear friend, Chester Lawson who will be greatly missed ii Acknowledgements There are a number of people that lent me their support, resources, and time to assist me in making this thesis successful. I am grateful to Dr. Diane F. Britton, my advisor, for her insight, guidance, support, and interest in this project. She has helped me to realize my potential to look further for the answers I seek. I would also like to thank Dr. Ruth Wallis Herndon for her continued support of my work when I faced tough times. Thank you to the history department for their advice and comments. I would especially like to thank my parents Dean and Marilyn and my fiancé, Ben for their faith in me throughout graduate school and for putting up with my constant procrastination. I appreciate everything you have done for me. iii Table of Contents Dedication ii Acknowledgements iii Table of Contents iv I. Introduction 1 II. The Historic Preservation Movement Before 1930 8 III. The Historic Preservation Movement After 1930 46 IV. The Decline of Historic Preservation in Lucas County, Ohio 96 V. The Historic Preservation Movement Takes Hold of Lucas 142 County, Ohio VI. The Lathrop House: Contemporary Controversy in 204 Preservation, A Case Study VII. Conclusion 227 VIII. Bibliography 235 IX. Appendix A 242 X. Appendix B 245 iv Introduction Historic preservation is the conservation of buildings, sites, and artifacts that are significant to American culture and history. In the past century, local history and the desire to find personal connections to the past have become prevalent across the country. -
List of Illinois Recordations Under HABS, HAER, HALS, HIBS, and HIER (As of April 2021)
List of Illinois Recordations under HABS, HAER, HALS, HIBS, and HIER (as of April 2021) HABS = Historic American Buildings Survey HAER = Historic American Engineering Record HALS = Historic American Landscapes Survey HIBS = Historic Illinois Building Survey (also denotes the former Illinois Historic American Buildings Survey) HIER = Historic Illinois Engineering Record (also denotes the former Illinois Historic American Engineering Record) Adams County • Fall Creek Station vicinity, Fall Creek Bridge (HABS IL-267) • Meyer, Lock & Dam 20 Service Bridge Extension Removal (HIER) • Payson, Congregational Church, Park Drive & State Route 96 (HABS IL-265) • Payson, Congregational Church Parsonage (HABS IL-266) • Quincy, Chicago, Burlington & Quincy Railroad, Freight Office, Second & Broadway Streets (HAER IL-10) • Quincy, Ernest M. Wood Office and Studio, 126 North Eighth Street (HABS IL-339) • Quincy, Governor John Wood House, 425 South Twelfth Street (HABS IL-188) • Quincy, Illinois Soldiers and Sailors’ Home (Illinois Veterans’ Home) (HIBS A-2012-1) • Quincy, Knoyer Farmhouse (HABS IL-246) • Quincy, Quincy Civic Center/Blocks 28 & 39 (HIBS A-1991-1) • Quincy, Quincy College, Francis Hall, 1800 College Avenue (HABS IL-1181) • Quincy, Quincy National Cemetery, Thirty-sixth and Maine Streets (HALS IL-5) • Quincy, St. Mary Hospital, 1415 Broadway (HIBS A-2017-1) • Quincy, Upper Mississippi River 9-Foot Channel Project, Lock & Dam No. 21 (HAER IL-30) • Quincy, Villa Kathrine, 532 Gardner Expressway (HABS IL-338) • Quincy, Washington Park (buildings), Maine, Fourth, Hampshire, & Fifth Streets (HABS IL-1122) Alexander County • Cairo, Cairo Bridge, spanning Ohio River (HAER IL-36) • Cairo, Peter T. Langan House (HABS IL-218) • Cairo, Store Building, 509 Commercial Avenue (HABS IL-25-21) • Fayville, Keating House, U.S. -
Harn Museum of Art Instructional Resource: Thinking About Modernity
Harn Museum of Art Instructional Resource: Thinking about Modernity TABLE OF CONTENTS “Give Me A Wilderness or A City”: George Bellows’s Rural Life ................................................ 2 Francis Criss: Locating Monuments, Locating Modernity ............................................................ 6 Seeing Beyond: Approaches to Teaching Salvador Dalí’s Appollinaire ............................. 10 “On the Margins of Written Poetry”: Pedro Figari ......................................................................... 14 Childe Hassam: American Impressionist and Preserver of Nature ..................................... 18 Subtlety of Line: Palmer Hayden’s Quiet Activism ........................................................................ 22 Modernist Erotica: André Kertész’s Distortion #128 ................................................................... 26 Helen Levitt: In the New York City Streets ......................................................................................... 31 Happening Hats: Pierre-Auguste Renoir’s Le chapeau épinglé .............................................. 35 Diego Rivera: The People’s Painter ......................................................................................................... 39 Diego Rivera: El Pintor del Pueblo ........................................................................................................... 45 Household Modernism, Domestic Arts: Tiffany’s Eighteen-Light Pond Lily Lamp .... 51 Marguerite Zorach: Modernism’s Tense Vistas .............................................................................. -
F Or the Fiscal Year Ending June 3 0 , 2 0 18
FOR THE FISCAL YEAR ENDING JUNE 30, 2018 annual report The Year in Summary As the largest public arts institution in Northern California, the Fine Arts Museums of San Francisco, comprising the de Young and the Legion of Honor, pursue the mission of serving a broad de Young and diverse constituency with exhibitions and programs that 50 Hagiwara Tea Garden Drive San Francisco, CA 94118 inform, educate, inspire, and entertain. In the past year, the deyoungmuseum.org Museums’ staff actively worked to achieve this mission with the dedicated support of members, donors, corporate and foundation Legion of Honor partners, trustees, city leaders, and the community at large. 100 34th Avenue One primary strategy in fulfilling the Museums’ purpose is in San Francisco, CA 94121 legionofhonor.org strengthening the permanent collection, then drawing from these rich resources to organize extraordinary exhibitions. Between 2 ANNUAL REPORT 2017–2018 “He never stopped making paintings and sculpture, generally at a scale one might call, at the very least, ambitious. Now San Francisco’s Legion of Honor has provided a space that matches in size the artist’s aspiration.” —San Francisco Chronicle \ on Julian Schnabel: Symbols of Actual Life “A lavish romp through the Rococo.” —Wall Street Journal \ on Casanova: The Seduction of Europe “A groundbreaking show like this may not appear again in July 2017 and June 2018, the Museums organized nearly thirty North America soon.” special exhibitions and installations. At the de Young, these — Fine Art Connoisseur \ included Teotihuacan: City of Water, City of Fire, the result of a on Truth and Beauty: long-term collaboration with cultural partners in Mexico, which The Pre-Raphaelites and presented examples from the Museums’ outstanding holdings the Old Masters of Teotihuacan murals—the largest and most important such collection outside Mexico. -
The History of the Avant-Garde - En-Cours-2020-Lhart2340 Lhart2340 the History of the Avant-Garde 2020
Université catholique de Louvain - The history of the avant-garde - en-cours-2020-lhart2340 lhart2340 The history of the avant-garde 2020 Due to the COVID-19 crisis, the information below is subject to change, in particular that concerning the teaching mode (presential, distance or in a comodal or hybrid format). 5 credits 30.0 h Q2 This biannual learning unit is not being organized in 2020-2021 ! Teacher(s) Roucloux Joël ; Language : French Place of the course Louvain-la-Neuve Main themes The course is centred on the artistic exchanges immediately before the First World War that were characteristic of an internationalisation of the avant-gardes. It examines the impact of the war and explores the new international landscape of the inter-war period. The issue of the indictment of avant-gardes by critics, by political regimes or even by the artists themselves is also covered. Aims To decompartmentalise the study of modern art movements by showing their interchanges, their convergences and their conflicts within an international setting. 1 - - - - The contribution of this Teaching Unit to the development and command of the skills and learning outcomes of the programme(s) can be accessed at the end of this sheet, in the section entitled “Programmes/courses offering this Teaching Unit”. Evaluation methods Due to the COVID-19 crisis, the information in this section is particularly likely to change. Oral presentation in class and oral examination. Teaching methods Due to the COVID-19 crisis, the information in this section is particularly likely to change. Encounters between artworks and the documents that locate their reception within a national and international context. -
RESOURCE GUIDE American Moderns, 1910-1960: from O’Keeffe to Rockwell Was Organized by the Brooklyn Museum
Georgia O’Keeffe (American, 1887-1986). 2 Yellow Leaves (Yellow Leaves), 1928. Oil on canvas, 40 x 30 1/8 in. (101.6 x 76.5 cm). Brooklyn Museum, Bequest of Georgia O’Keeffe, 87.136.6. RESOURCE GUIDE American Moderns, 1910-1960: From O’Keeffe to Rockwell was organized by the Brooklyn Museum. AMERICAN MODERNS, 1910—1960: FROM O’KEEFFE TO ROCKWELL 01 “One cannot be an American by going about saying that one is an American. It is necessary to feel America, like America, love America and then work.” Georgia O’Keeffe, 1926 Detail: George Wesley Bellows (American, 1882-1925). The Sand Cart, 1917. Oil on canvas. Brooklyn Museum, John B. Woodward Memorial Fund, 24.85 AMERICAN MODERNS, 1910–1960: TABLE OF CONTENTS FROM O‘KEEFFE TO ROCKWELL 1 Exhibition Introduction September 27, 2012–January 6, 2013 2 Cubist Experiments The five decades from 1910 to 1960 witnessed tumultuous and widespread 3 The Still Life Revisited changes in American society. As the United States assumed international prominence as an economic, industrial, and military superpower, it also faced the 4 Nature Essentialized difficulties of wars and the Great Depression. New technologies altered all aspects of modern life, and a diverse and mobile population challenged old 5 Modern Structures social patterns and clamored for the equality and opportunities promised by the American dream. 6 Engaging Characters These dramatic social and technological changes inform the paintings and sculptures from the world-renowned collection of the Brooklyn Museum in 7 Americana American Moderns, 1910—1960: From O’Keeffe to Rockwell. In seeking new ways 8 Reading Lists to make their work relevant to contemporary audiences, many American artists rejected long-standing artistic traditions of realism and narrative and 11 Lessons Plans reformulated the genres of figure painting, landscape, and still life.