Salvador Dalí. De La Inmortal Obra De Cervantes
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DCASE Public Art Self-Guided Tour Packet (PDF)
DCASE Public Art Tour Works of art: Randolph/Garland Ct. (We Will) Millennium Park: Boeing Gallery North (Screenhouse) (Cloud Gate) Boeing Gallery South (Christine Tarkowski) (Crown Fountain) Chicago Cultural Center: 78 E. Washington (Bronze Cow) Garland Court (Rushmore) SW corner of Randolph & Garland Ct. • Title: We Will (2005) • Artist: Richard Hunt, (born 1935, Chicago.) • Artist info: o Graduated from School of the Art Institute of Chicago. o Over 150 commissioned works. o 1st African-American sculptor to have a major solo exhibition at the Museum of Modern Art in New York o 1968 appointed by Pres. Lyndon Johnson to serve on the National Council on the Arts. o In 2015 (his 80th bday) CCC exhibited 60 pieces of his work, representing his career. • About the work: o Welded stainless steel o 35’H x 8’W x 8’D o Commissioned by the developers of the Heritage building (condos/retail) o “Leaps from its stippled metal pedestal like a flame dancing in the breeze.”--Blogger o Artist quote: “In some works it is my intention to develop the kind of forms Nature might create if only heat and steel were available to her.” o The artist is currently creating a monument to Ida B. Wells, an early leader in the Civil Rights movement and a founder of the NAACP. (Walk to E side of CCC and cross Michigan Ave. at Washington to Boeing Gallery North, S. of Randolph, E. of Michigan) Millennium Park • Opened in 2004, the 24.5 acre Millennium Park was an industrial wasteland transformed into a world- class public park. -
The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support. -
Bay Area Economics Draft Report – Study Of
DRAFT REPORT Study of Alternatives to Housing For the Funding of Brooklyn Bridge Park Operations Presented by: BAE Urban Economics Presented to: Brooklyn Bridge Park Committee on Alternatives to Housing (CAH) February 22, 2011 Table of Contents Executive Summary ....................................................................................................... i Introduction and Approach ........................................................................................... 1 Committee on Alternatives to Housing (CAH) Process ............................................................ 1 Report Purpose and Organization ............................................................................................. 2 Topics Outside the Scope of the CAH and this Report ............................................................. 3 Report Methodology ................................................................................................................. 4 Limiting Conditions .................................................................................................................. 4 Park Overview and the Current Plan ............................................................................ 5 The Park Setting and Plan ......................................................................................................... 5 Park Governance ....................................................................................................................... 6 The Current Financing Plan ..................................................................................................... -
Masters Thesis
WHERE IS THE PUBLIC IN PUBLIC ART? A CASE STUDY OF MILLENNIUM PARK A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Corrinn Conard, B.A. ***** The Ohio State University 2008 Masters Examination Committee: Approved by Dr. James Sanders III, Advisor Advisor Professor Malcolm Cochran Graduate Program in Art Education ABSTRACT For centuries, public art has been a popular tool used to celebrate heroes, commemorate historical events, decorate public spaces, inspire citizens, and attract tourists. Public art has been created by the most renowned artists and commissioned by powerful political leaders. But, where is the public in public art? What is the role of that group believed to be the primary client of such public endeavors? How much power does the public have? Should they have? Do they want? In this thesis, I address these and other related questions through a case study of Millennium Park in Chicago. In contrast to other studies on this topic, this thesis focuses on the perspectives and opinions of the public; a group which I have found to be scarcely represented in the literature about public participation in public art. To reveal public opinion, I have conducted a total of 165 surveys at Millennium Park with both Chicago residents and tourists. I have also collected the voices of Chicagoans as I found them in Chicago’s major media source, The Chicago Tribune . The collection of data from my research reveal a glimpse of the Chicago public’s opinion on public art, its value to them, and their rights and roles in the creation of such endeavors. -
LUCAS CULTURAL ARTS MUSEUM MAYOR’S TASK FORCE REPORT | CHICAGO May 16, 2014
THE LUCAS CULTURAL ARTS MUSEUM MAYOR’S TASK FORCE REPORT | CHICAGO May 16, 2014 Mayor Rahm Emanuel City Hall - 121 N LaSalle St. Chicago, IL 60602 Dear Mayor Emanuel, As co-chairs of the Lucas Cultural Arts Museum Site Selection Task Force, we are delighted to provide you with our report and recommendation for a site for the Lucas Cultural Arts Museum. The response from Chicagoans to this opportunity has been tremendous. After considering more than 50 sites, discussing comments from our public forum and website, reviewing input from more than 300 students, and examining data from myriad sources, we are thrilled to recommend a site we believe not only meets the criteria you set out but also goes beyond to position the Museum as a new jewel in Chicago’s crown of iconic sites. Our recommendation offers to transform existing parking lots into a place where students, families, residents, and visitors from around our region and across the globe can learn together, enjoy nature, and be inspired. Speaking for all Task Force members, we were both honored to be asked to serve on this Task Force and a bit awed by your charge to us. The vision set forth by George Lucas is bold, and the stakes for Chicago are equally high. Chicago has a unique combination of attributes that sets it apart from other cities—a history of cultural vitality and groundbreaking arts, a tradition of achieving goals that once seemed impossible, a legacy of coming together around grand opportunities, and not least of all, a setting unrivaled in its natural and man-made beauty. -
The Crown Fountain in Chicago's Millennium Park Is an Ingenious
ACrowning Achievement The Crown Fountain in Chicago’s Millennium Park is an ingenious fusion of artistic vision and high-tech water effects in which sculptor Jaume Plensa’s creative concepts were brought to life by an interdisciplinary team that included the waterfeature designers at Crystal Fountains. Here, Larry O’Hearn describes how the firm met the challenge and helped give Chicago’s residents a defining landmark in glass, light, water and bright faces. 50 WATERsHAPES ⅐ APRIL 2005 ByLarry O’Hearn In July last year, the city of Chicago unveiled its newest civic landmark: Millennium Park, a world-class artistic and architec- tural extravaganza in the heart of downtown. At a cost of more than $475 million and in a process that took more than six years to complete, the park transformed a lakefront space once marked by unsightly railroad tracks and ugly parking lots into a civic showcase. The creation of the 24.5-acre park brought together an unprecedented collection of world-class artists, architects, urban planners, landscape architects and designers including Frank Gehry, Anish Kapoor and Kathryn Gustafson. Each con- tributed unique designs that make powerful statements about the ambition and energy that define Chicago. One of the key features of Millennium Park is the Crown Fountain. Designed by Jaume Plensa, the Spanish- born sculptor known for installations that focus on human experiences that link past, present and fu- ture and for a philosophy that says art should not simply decorate an area but rather should trans- form and regenerate it, the Crown Fountain began with the notion that watershapes such as this one need to be gathering places. -
The Global Edge: an Agenda for Chicago’S Future Issues Through Contributions to Opinion and Policy Formation, Leadership Dialogue, and Public Learning
The Chicago Council on Global Affairs, founded in 1922 as The Chicago Council on Foreign Relations, is a leading independent, nonpartisan organization committed to influencing the discourse on global Future Chicago’s for An Agenda The Global Edge: issues through contributions to opinion and policy formation, leadership dialogue, and public learning. The Global Edge: An Agenda for Chicago’s Future Report of an Independent Study Group Michael H. Moskow, Henry H. Perritt, Jr., and Adele Simmons, Cochairs Sponsored by 332 South Michigan Avenue Suite 1100 Chicago, Illinois 60604 thechicagocouncil.org SPINE The Global Edge: An Agenda for Chicago’s Future RepoRt of an Independent Study GRoup Michael H. Moskow, Henry H. Perritt, Jr., and Adele Simmons, Cochairs SponSoRed by The Chicago Council on Global Affairs is a leading independent, nonpartisan organi- zation committed to influencing the discourse on global issues through contributions Study Group Cochairs to opinion and policy formation, leadership dialogue, and public learning. Michael H. Moskow The Chicago Council provides members, specialized groups, and the general public Senior Fellow for the Global Economy with a forum for the consideration of significant international issues and their bear- ing on American foreign policy. In addition to remaining the premier platform in the The Chicago Council on Global Affairs Midwest for international leaders in foreign policy, The Chicago Council strives to take the lead in gaining recognition for Chicago as an international business center Henry H. Perritt, Jr. for the corporate community and to broaden and deepen the Council’s role in the Professor community. Chicago-Kent College of Law THE CHICAGO COUNCIL TAKES NO INSTITUTIONAL POSITION ON POLICY ISSUES AND HAS NO AFFILIATION WITH THE U.S. -
Dreams and Fury of a Visionary: Goya Francisco Goya
Dreams and fury of a visionary: Goya Francisco Goya Unlike many of the leading figures of the art world, Francisco Goya cannot be really placed in any specific artistic movement or historical period. On the one hand he is close to the late Baroque and to Neoclassicism, on the other his opus shows themes typical of the Age of Enlightenment, anticipations of romantic philosophy and reflections on modernity. In a politically and socially backwards Spain, Goya is a witness (in Argan’s words) “of sharp mind and of moral and political dignity”, as well as a precursor of the anguish and reflections of the XIX and XX century. In the artistic journey of the Spanish master, engraving acts as a cultural and stylistic synthesis of his iconography, and Goya revolutionises its techniques too. A true etching virtuoso, the Spanish artist is equally versed in drypoint and burin and experiments successfully with aquatint. Goya’s work is a real turning point in the history of printmaking and his influence can be traced across the entire XIX century and even in the XX century, as far as into German Expressionism. The exhibition presented here follows in a remarkably complete fashion the entire span of Goya’s life. In the D’après Velazquez series (1778-82) the artist pays tribute to his master with eleven extraordinary etchings. The second series are the Caprichos, completed in 1798. Rooted in Enlightenment rationality, these exceptional plates nevertheless prefigure more modern anxieties and irrationalities. Goya’s satire uncovers the evils, prejudices and deceits of the Spain of his times, which are the same evils, prejudices and deceits of any society. -
Francisco De Goya. Diplomatario
El «Diplomatario de Francisco de Goya es una edición técnica de 284 testos escritos por el pintor entre 1771 y 1828. más 197 documen tos dirigidos o relativos al mismo en los años 1746 a 1919. Un estudio preliminar indica las vicisitudes del epistolario goyesco, sus ca racterísticas paleográficas, diplomatisticas y grafológicas, reproduce los dibujos insertos por Goya en sus cartas al amigo de la infan cia Martín Zapater y Clavería y ofrece datos pertinentes sobre cada uno de los documen tos que se editan (sinceridad diplomática, de pósito en que se hallan actualmente, edicio nes íntegras o parciales, citas, etc., referidas a 94 obras de bibliografía selecta sobre Goya). Ideada esta edición para uso ulterior de goyistas, los 481 textos editados, distribuidos en dos series (la del «Registro» con textos emanados de Goya y la del «Cartulario» con textos dirigidos o relativos a Goya), llevan numeración correlativa (cifras arábigas o nú meros romanos, según la serie) y en cada documento numeración marginal de renglo nes para fácil y exacta cita. Dos índices, uno del «Registro» y otro del «Cartulario» facilitan la localización de ono- másticos, topónimos y conceptos insertos en los documentos editados. Se añade una sinóp sis cronológica de la vida de Goya, con 408 noticias fidedignas enriquecidas con los da tos consignados en los textos de este «Diplo- matario». Y como novedad se edita un rico léxico de Goya, que reproduce en su auto- grafía unas 3.500 palabras empleadas por el pintor en sus cartas originales. Ángel Canellas López, preparador de esta edición y autor del estudio preliminar, es catedrático de Paleografía y Diplomática en la Universidad de Zaragoza, académico de la Real de Bellas Artes de San Luis de Zarago za y correspondiente de la Real de la Histo ria, y director de la «Institución Fernando el Católico» de la Diputación Provincial de Za ragoza, mecenas de esta edición. -
History of Saic
HISTORY OF SAIC For more than 150 years, the School of the Art Institute of Chicago (SAIC) has been a leader in educating artists, designers, and scholars. SAIC’s history as a world-renowned college of art and design is interwoven with the Art Institute of Chicago and the city itself. 1866 A group of Chicago artists meet to 1972 The Generative Systems program discuss the formation of an art school is launched, which evolves into the with its own art gallery, laying the Department of Art and Technology foundation for the Chicago Academy Studies—the first department of its of Design kind in the country 1869 The State of Illinois grants the 1982 The Early College Program for high Chicago Academy of Design a charter school students is established 1872 A teaching collection is established, 1993 Graduate programs diversify, with consisting primarily of plaster casts as the introduction of the MA in Arts well as Egyptian and Classical material Administration, MS in Historic Preservation, and MFA in Writing 1882 Name is changed to the Art Institute of Chicago to accommodate a distinct 2001 SAIC faculty, students, and alumni museum and school, which is later develop the technology and production known as the School of the Art techniques for Millennium Park’s Institute of Chicago Crown Fountain, which increases SAIC’s focus on external collaborations 1891 First diplomas are awarded 2002 SAIC is named the “most influential 1893 The Art Institute of Chicago school art school in the United States” in a and museum move into the iconic survey of art -
What's out There Chicago Kid's Guide
The Cultural Landscape Foundation What’s Out There Chicago Kid’s Guide + Activities Welcome to the What’s Out There Chicago Kid’s Guide! Chicago, a city of celebrated, well-known architecture, is also home to remarkable and pioneering works of landscape architecture, from the Prairie style epitomized by Alfred Caldwell’s Lily Pool and Jens Jensen’s Columbus Park to significant 20th century landscapes that include the roof garden atop The Cultural Landscape Foundation (TCLF) the Modernist Lake Point Tower and Dan The 12-year old Cultural Landscape Foundation provides Kiley’s geometric design for the Art Institute people with the ability to see, understand and value of Chicago’s South Garden. landscape architecture and its practitioners, in the way many people have learned to do with buildings Visit the What’s Out There Chicago website and their designers. Through its Web site, lectures, outreach and publishing, TCLF broadens the support and www.tclf.org/landscapes/wot-weekend-chicago understanding for cultural landscapes nationwide to help to learn more... safeguard our priceless heritage for future generations. The Cultural Landscape Foundation 1909 Que Street NW, Second Floor This Kid’s Guide is part of TCLF’s ongoing Washington, DC 20009 Cultural Landscapes as Classrooms (CLC) (t) 202.483.0553 (f) 202.483.0761 series, which teaches people to “read” the www.tclf.org landscapes and cityscapes that are part of their surroundings, to understand how changes affect these special places, and to become better stewards of this shared cultural landscape heritage. The booklet is filled with fun activities, engaging games, and things to look for at 18 Chicago sites. -
Millennium Park Chicago, Illinois
2009 RUDY BRUNER AWARD: Silver Medal Winner Millennium Park Chicago, Illinois ©BRUNER FOUNDATION, INC. ~ www.brunerfoundation.org SILVER MEDAL WINNER MILLENNIUM PARK © City of Chicago / GRC Aerial view of Millennium Park 88 2009 RUDY BRUNER AWARD Millennium Park at-a-Glance WHAT IS MILLENNIUM PARK? PROJECT GOALS v A 24.5-acre park with venues for performance, art, v To transform the commuter railroad tracks, surface parking sculpture, architecture and landscape architecture, located and degraded parkland in the northwest corner of Grant Park between Chicago’s lakefront and the central business into a landscaped venue for free public programming, district (the Loop). concerts, and events v The transformation of a dilapidated ground-level parking v To create a permanent home for the Grant Park Music Festival lot and rail yard into what may be the world’s largest “green v To provide one-of-a-kind public art spaces as a “gift” to all roof,” covering two multi-level parking lots with a total of the citizens of Chicago from patrons who have made their 4,000 cars, and commuter rail line. fortunes in the city v A park with twelve installations created by well-known artists v To lay the foundation for future private residential and and designers that supports over 500 free cultural programs commercial development in the area each year, forming what the Chicago Tribune art reporter Chris Jones called “arguably the most expansive cultural project in Chicago since the 1893 Columbian Exposition.” v A catalyst for economic impacts, including estimated increases in nearby real estate values that total $1.4 billion and an increase in tourism revenues of $2.6 billion over a projected year period.