2010 Annual Report

Total Page:16

File Type:pdf, Size:1020Kb

2010 Annual Report Wadsworth Atheneum Museum of Art 2010 A NNUAL R EPORT 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 1 W ADSWORTH A THENEUM M USEUMOF A RT 201 0 A NNUAL R EPORT 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 2 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 3 W ADSWORTH A THENEUM M USEUMOF A RT 201 0 A NNUAL R EPORT Hartford, Connecticut 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 4 R EPORT from the President Museums are often considered places where the art of the past is cared for, studied, and displayed, but as supporters of the Atheneum, we know that mu- seums are also living entities, filled with vibrancy, that must evolve and grow as the communities around them change. This evolution was most evident in the museum’s exciting exhibition program. Designed to showcase the wealth of masterpieces in the Wadsworth Atheneum’s permanent collection, our exhibitions attracted critical acclaim and increased visitation at a time when almost half of the museum was closed for renovation. While closed galleries meant less space, the initiation of our long-awaited renovation project was an important first step towards reclaim- ing thousands of square feet and improving the overall visitor experience. The reinvigoration of our innovative MATRIX series brought two young artists from around the world to the museum and transformed our gallery spaces—first with dizzying beams of light emitted from Kitty Kraus’ mirrored light boxes, followed by a graffiti covered bathroom and a floor of paper back books for Justin Lowe’s Werewolf Karaoke installation. Quality acquisitions across multiple departments and media—includ- ing toothpicks—enhanced the permanent collection and added depth to our contemporary holdings. Tangible momentum was achieved in the area of com- munity engagement, bolstered by strong funding support, which is a tribute Susan A. Rottner, President to the perceived value of the museum’s new programs. Lastly, the museum’s progress was heralded locally, nationally and internationally through a sig- nificant increase in media attention that bolstered awareness, and enhanced the museum’s already strong reputation. Challenges existed as well, the most complex of which was the con- tinued struggle to raise funds in an environment of economic uncertainty and unease, a challenge shared by most not-for-profit organizations. Our Atheneum family once again showed its loyalty and passion for our mission by supporting the museum, resulting in the achievement of our budgetary goals for the third year in a row. 4 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 5 To forcefully address this challenge and chart a more certain eco- nomic course and enduring vision for the museum over the next decade, the museum initiated a strategic planning process. This process affords us the op- portunity to pause and consider not only who we are, but how we wish to evolve both now and generations from now. Most importantly, the strategic planning process is designed to move us forward, to acknowledge our rich history, while simultaneously focusing on an even brighter future. The opportunity to create the Wadsworth Atheneum that we want is in our hands. As we continue the process during the next fiscal year, I look forward to gathering your input and ideas, and to harnessing your energy and support as we begin down a new, but still vibrant path. Thank you for your generous support during 2010. Your gifts of time and talent, and unwavering financial support have advanced the museum and sustained our collective mission - for which you have my sincere appreciation. Susan A. Rottner Jacob Wemmersz Dutch, active 1664–1686 Hoppesteyn, The Moor’s Head Factory [Het Moriaenshooft] Charger, c. 1680–1685 Tin-glazed earthenware Gift in memory of Mae Cadwell Rovensky, by exchange; Gift of Samuel P. Avery, by exchange; Gift of Dr. Katharine Merritt, by exchange; and Bequest of Elisha E. Hilliard, by exchaange, 2010.5.1 5 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 6 R EPORT from the Director The Wadsworth Atheneum has made incredible progress this past year. With our renovation project well underway, our landscape has been enlivened by gigantic cranes and colorful fence scrims announcing that we are renovating, innovating, and open to the public. Although forty percent of our gallery space was closed for a good part of the year, critical acclaim for our artistic program was exceptional, attendance at our special events reached a new high, and overall attendance experienced a slight increase. In October, the museum launched Rembrandt’s People, the first exhi- bition in our much anticipated Masterpiece Series. The exhibition was com- prised of nine of the artist’s most expressive portraits, marking the first time any authentic Rembrandt painting had been displayed in Hartford in over seventy years! Reunited Masterpieces: From Adam & Eve to George & Martha continued the Masterpiece Series, and opened appropriately on Valentines Day. The show paired many of our best-known paintings from the permanent col- lection with their long-separated mates, some of which had not been seen together in centuries. The museum’s artistic program also saw the return of our famed MA- Susan L. Talbott, TRIX series, which enables us, once again, to exhibit art of the moment. The Director and CEO program presented an exciting roster of emerging artists from around the world, including Kitty Kraus and Justin Lowe, who both created their first solo museum exhibition in our dedicated MATRIX gallery. The Wadsworth also made tremendous strides in the area of commu- nity engagement with the support of a half million dollar grant from the Hart- ford Foundation for Public Giving. This enabled us to launch a number of new programs to begin building valuable partnerships with our neighboring or- ganizations and schools. Museum on the Move reached more than 300 Hart- ford public school students, and brought our education staff and docents into the community to encourage visitation, and the use of the museum as a learn- ing laboratory. The museum’s Connections Gallery, a new dedicated space for 6 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 7 Kitty Kraus German, b. 1976 Untitled (Mirror Lights) , 2006/10 Mirrors, light bulbs, cable, and tape Courtesy of the artist and Galerie Neu, Berlin interactive exhibitions and collaborations, was inaugurated as a joint effort with the American School for the Deaf. Significant momentum was achieved in both our Phoenix Art After Hours and Last Saturday programs. New partnerships created for events such as Noche Caliente led to increased diversity and a thirteen percent rise in at- tendance at Phoenix Art After Hours. The results for our Last Saturday pro- gram are even more impressive. Free family programming and activities, in addition to free admission from 10:00 am–1:00 pm, resulted in a fifty-nine percent increase in attendance as compared to the previous year. I am optimistic about the coming year; we have an exciting future, filled with opportunity, and we have you—our members, supporters, partners, volun- teers, and colleagues—to thank for it. I am extremely grateful to each of you. Susan L. Talbott 7 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 8 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 9 E XHIBITIONS & A CQUISITIONS Wadsworth Atheneum Museum of Art During the past year the Wadsworth Atheneum’s permanent collection was show- cased and enhanced, through a stellar exhibition program, and the acquisition of major works of art. Exhibition highlights include Rembrandt’s People, the first in the museum’s Masterpiece Series. The exhibition focused on Rembrandt’s powerful figure paintings, which are hailed as his greatest artistic achievement. Borrowed from leading muse- ums in both America and Canada, and two private collections, Rembrandt’s People featured works from throughout the artist’s career depicting a wide variety of subjects, including his iconic self-portrait from 1659. Reunited Masterpieces: From Adam & Eve to George & Martha continued the series, rejoining works from the Atheneum with their often-distant pendants. It included paintings of both real and mythological people—the earliest of which, in terms of both date and subject, was a set of panels portraying Adam and Eve from 1613 by the Dutch artist Hendrick Goltzius. Reunited Masterpieces marked the first time this pair had been seen together in almost five centuries. The museum also organized American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art, a groundbreaking new look at the diverse directions pursued by modern artists in America. The show was greeted by large and enthusiastic crowds at both the Amon Carter Museum of American Art in Fort Worth, Texas, and the Portland Museum of Art in Portland, Maine. The exhibition will open at the Wadsworth Atheneum during the fall of 2010. The Amistad Center for Art & Culture presented High Water Marks: Art & Renewal After Katrina, which highlighted the achievements of a range of artists who have documented New Orleans’ devastation, and are committed to its recovery. Justin Lowe In addition to a strong exhibition program, the museum expanded its per- manent collection through a number of significant acquisitions, including Untitled American, b. 1976 (Toothpicks) by Tara Donovan, Red and Pink Robe by Sean Scully, and The Astron- Werewolf Karaoke, 2010 (detail) omy Lesson of the Duchesse du Maine by François de Troy. Mixed-media, multi-room installation Courtesy of the artist 9 34011 AR_2010_FINAL_Print_v3_Layout 1 11/5/10 11:34 AM Page 10 Exhibitions a n d Exhibition Sponsors All exhibitions at the Wadsworth Atheneum are funded in part by the Greater Hartford Arts Council’s United Arts Campaign, and the Connecticut Commission on Culture & Tourism, which receives a portion of its support from the National Endowment for the Arts, a federal agency.
Recommended publications
  • Press Release
    Press Release Contact: Whitney Museum of American Art Whitney Museum of American Art 945 Madison Avenue at 75th Street Stephen Soba, Kira Garcia New York, NY 10021 (212) 570-3633 www.whitney.org/press www.whitney.org/press March 2007 Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] WHITNEY MUSEUM TO PRESENT A TRIBUTE TO LINCOLN KIRSTEIN BEGINNING APRIL 25, 2007 Pavel Tchelitchew, Portrait of Lincoln Kirstein, 1937 Courtesy of The School of American Ballet, Photograph by Jerry L. Thompson The Whitney Museum of American Art is observing the 100th anniversary of Lincoln Kirstein’s birth with an exhibition focusing on a diverse trio of artists from Kirstein’s circle: Walker Evans, Elie Nadelman, and Pavel Tchelitchew. Lincoln Kirstein: An Anniversary Celebration, conceived by guest curator Jerry L. Thompson, working with Elisabeth Sussman and Carter Foster, opens in the Museum’s 5th-floor Ames Gallery on April 25, 2007. Selections from Kirstein’s writings form the basis of the labels and wall texts. Lincoln Kirstein (1906-96), a noted writer, scholar, collector, impresario, champion of artists, and a hugely influential force in American culture, engaged with many notable artistic and literary figures, and helped shape the way the arts developed in America from the late 1920s onward. His involvement with choreographer George Balanchine, with whom he founded the School of American Ballet and New York City Ballet, is perhaps his best known accomplishment. This exhibition focuses on the photographer Walker Evans, the sculptor Elie Nadelman, and the painter Pavel Tchelitchew, each of whom was important to Kirstein.
    [Show full text]
  • Oral History Interview with Walker Evans, 1971 Oct. 13-Dec. 23
    Oral history interview with Walker Evans, 1971 Oct. 13-Dec. 23 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971. Interview PAUL CUMMINGS: It’s October 13, 1971 – Paul Cummings talking to Walker Evans at his home in Connecticut with all the beautiful trees and leaves around today. It’s gorgeous here. You were born in Kenilworth, Illinois – right? WALKER EVANS: Not at all. St. Louis. There’s a big difference. Though in St. Louis it was just babyhood, so really it amounts to the same thing. PAUL CUMMINGS: St. Louis, Missouri. WALKER EVANS: I think I must have been two years old when we left St. Louis; I was a baby and therefore knew nothing. PAUL CUMMINGS: You moved to Illinois. Do you know why your family moved at that point? WALKER EVANS: Sure. Business. There was an opening in an advertising agency called Lord & Thomas, a very famous one. I think Lasker was head of it. Business was just starting then, that is, advertising was just becoming an American profession I suppose you would call it. Anyway, it was very naïve and not at all corrupt the way it became later.
    [Show full text]
  • Finding Aid for Bolender Collection
    KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by
    [Show full text]
  • Barnhart, Review of Lincoln Kirstein's Modern
    ISSN: 2471-6839 Cite this article: Clara Barnhart, review of Lincoln Kirstein’s Modern, by Samantha Friedman and Jodi Hauptman, Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10757. Lincoln Kirstein’s Modern by Samantha Friedman and Jodi Hauptman with contributions by Lynn Garafola, Michele Greet, Michelle Harvey, Richard Meyer, and Kevin Moore New York: The Museum of Modern Art, 2019. 208 pp.; 170 color illus.; 94 b/w illus.; Hardcover: $55.00 (ISBN: 9781633450820) Exhibition schedule: The Museum of Modern Art, New York, March 17–June 15, 2019 Reviewed by: Clara Barnhart, Independent Scholar The remarkable contribution made by Lincoln Kirstein (1907–1996) to the modern arts in the 1930s and 1940s United States took many forms, but he is still mostly known for enhancing the status of ballet as an American art form. Given that he so successfully spearheaded the American ballet movement, and continued to preside over it into the late 1980s as director of the New York City Ballet (NYCB) and president of the School of American Ballet (SAB), Kirstein's range of artistic interests is often overlooked. Lincoln Kirstein’s Modern, the catalogue for the 2019 Museum of Modern Art (MoMA) exhibition of the same name, seeks to correct this constrictive categorization by presenting Kirstein as a “key connector and indefatigable catalyst who shaped and supported American artists and institutions in the 1930s and ’40s,” writes Samantha Friedman, cocurator of the exhibition (11). The extent of his influence on the arts has not been sufficiently examined until now; the catalogue therefore fills a significant gap in the critical literature.
    [Show full text]
  • Institute of Fine Arts Alumni Newsletter, Number 55, Fall 2020
    Number 55 – Fall 2020 NEWSLETTERAlumni PatriciaEichtnbaumKaretzky andZhangEr Neoclasicos rnE'-RTISTREINVENTiD,1~1-1= THEME""'lLC.IIEllMNICOLUCTION MoMA Ano M. Franco .. ..H .. •... 1 .1 e-i =~-:.~ CALLi RESPONSE Nyu THE INSTITUTE Published by the Alumni Association of II IOF FINE ARTS 1 Contents Letter from the Director In Memoriam ................. .10 The Year in Pictures: New Challenges, Renewed Commitments, Alumni at the Institute ..........16 and the Spirit of Community ........ .3 Iris Love, Trailblazing Archaeologist 10 Faculty Updates ...............17 Conversations with Alumni ....... .4 Leatrice Mendelsohn, Alumni Updates ...............22 The Best Way to Get Things Done: Expert on Italian Renaissance An Interview with Suzanne Deal Booth 4 Art Theory 11 Doctors of Philosophy Conferred in 2019-2020 .................34 The IFA as a Launching Pad for Seventy Nadia Tscherny, Years of Art-Historical Discovery: Expert in British Art 11 Master of Arts and An Interview with Jack Wasserman 6 Master of Science Dual-Degrees Dora Wiebenson, Conferred in 2019-2020 .........34 Zainab Bahrani Elected to the American Innovative, Infuential, and Academy of Arts and Sciences .... .8 Prolifc Architectural Historian 14 Masters Degrees Conferred in 2019-2020 .................34 Carolyn C Wilson Newmark, Noted Scholar of Venetian Art 15 Donors to the Institute, 2019-2020 .36 Institute of Fine Arts Alumni Association Offcers: Alumni Board Members: Walter S. Cook Lecture Susan Galassi, Co-Chair President Martha Dunkelman [email protected] and William Ambler [email protected] Katherine A. Schwab, Co-Chair [email protected] Matthew Israel [email protected] [email protected] Yvonne Elet Vice President Gabriella Perez Derek Moore Kathryn Calley Galitz [email protected] Debra Pincus [email protected] Debra Pincus Gertje Utley Treasurer [email protected] Newsletter Lisa Schermerhorn Rebecca Rushfeld Reva Wolf, Editor Lisa.Schermerhorn@ [email protected] [email protected] kressfoundation.org Katherine A.
    [Show full text]
  • Shifting Momentum: Abstract Art from the Noyes Collection
    Education Guide April 5 – June 6, 2018 Shifting Momentum: Abstract Art from the Noyes Collection Free Opening Reception: Second Friday, April 13, 2018 6:00 – 8:00 pm Curator’s Talk by Chung-Fan Chang: 6:00pm This show features abstract works by Dimitri Petrov, Lucy Glick, Robert Natkin, Jim Leuders, W.D. Bannard, Robert Motherwell, Frieda Dzubas, Alexander Liberman, David Johnston, Hulda Robbins, Wolf Kahn, Deborah Enight, Oscar Magnan, and Katinka Mann. Lucy Glick, Quiet Landing, oil on linen, 1986 Dimitri Petrov was born in Philadelphia in 1919, grew up in an anarchist colony in New Jersey and spent much of his career in Philadelphia. In 1977, he moved to Mount Washington, Massachusetts. Petrov later attended the Pennsylvania Academy of Fine Arts and studied printmaking with Stanley Hayter at the Atelier 17 Workshop. He was a member of the Dada movement and a Surrealist painter and printmaker. He was also the editor of a surrealist newspaper, Instead, a member of the Woodstock Artists Association, and editor/publisher of publications including the “Prospero” series of poet-artist books "Letter Edged in Black". Lucy Glick, an artist whose vividly colored paintings were known for their bold lines and sense of movement was born in Philadelphia. Glick attended the Philadelphia College of Art from 1941 to 1943 and the Pennsylvania Academy of the Fine Arts from 1958 to 1962. Her paintings were a vehicle for expressing her emotions, usually with strong lines, energetic brush strokes and a luminous quality. Robert Natkin was born in Chicago in 1930 into a large Russian-Jewish immigrant family.
    [Show full text]
  • Abstract Addictions
    VALLARINO FINE ART 222 EAST 49TH STREET NEW YORK, NY 10017 FINE ART VALLARINO VALLARINOFINEART.COM ABSTRACT ADDICTIONS: .. .WHAT’S NEXT ....WHO KNOWS?.... .WHAT’S MODERN/POST-WAR ABSTRACT ADDICTIONS: 2020 WHAT’S NEXT.... WHO KNOWS?.... 2020 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM ABSTRACT ADDICTIONS: WHAT’S NEXT....WHO KNOWS?.... What’s Next…..Who Knows?? Is a very fitting subtitle for our annual catalogue. What has happened in the past four-five months seems unimaginable, then again, it could be a blessing in disguise, a kind of wake-up call for all of us. Our global treatment of humanity, our planet’s environment, economic collapse, civil rights and politics have caused a boiling point in our society and then add the Covid-19 Pandemic to top things off and there you have “What’s Next…..Who Knows? One thing I know is art and the art market has literally been around forever and has weathered centuries of wars, economic crashes and many other global disasters and will continue to prevail perhaps in new ways to which it will need to reinvent itself. I believe a correction is taking place as has happened in every market throughout history when strained by historic events. The brick & mortar gallery model is becoming a thing of the past and the existence of art fairs in the near future is questionable regarding the current health situations for the dealers and the collectors who attend. I believe that a large group of galleries are going to close as their business models aren’t strong enough to survive these extreme times.
    [Show full text]
  • Handbook on Judaica Provenance Research: Ceremonial Objects
    Looted Art and Jewish Cultural Property Initiative Salo Baron and members of the Synagogue Council of America depositing Torah scrolls in a grave at Beth El Cemetery, Paramus, New Jersey, 13 January 1952. Photograph by Fred Stein, collection of the American Jewish Historical Society, New York, USA. HANDBOOK ON JUDAICA PROVENANCE RESEARCH: CEREMONIAL OBJECTS By Julie-Marthe Cohen, Felicitas Heimann-Jelinek, and Ruth Jolanda Weinberger ©Conference on Jewish Material Claims Against Germany, 2018 Table of Contents Foreword, Wesley A. Fisher page 4 Disclaimer page 7 Preface page 8 PART 1 – Historical Overview 1.1 Pre-War Judaica and Jewish Museum Collections: An Overview page 12 1.2 Nazi Agencies Engaged in the Looting of Material Culture page 16 1.3 The Looting of Judaica: Museum Collections, Community Collections, page 28 and Private Collections - An Overview 1.4 The Dispersion of Jewish Ceremonial Objects in the West: Jewish Cultural Reconstruction page 43 1.5 The Dispersion of Jewish Ceremonial Objects in the East: The Soviet Trophy Brigades and Nationalizations in the East after World War II page 61 PART 2 – Judaica Objects 2.1 On the Definition of Judaica Objects page 77 2.2 Identification of Judaica Objects page 78 2.2.1 Inscriptions page 78 2.2.1.1 Names of Individuals page 78 2.2.1.2 Names of Communities and Towns page 79 2.2.1.3 Dates page 80 2.2.1.4 Crests page 80 2.2.2 Sizes page 81 2.2.3 Materials page 81 2.2.3.1 Textiles page 81 2.2.3.2 Metal page 82 2.2.3.3 Wood page 83 2.2.3.4 Paper page 83 2.2.3.5 Other page 83 2.2.4 Styles
    [Show full text]
  • Press Release
    Press Release FOR IMMEDIATE RELEASE Media Contact Troy Ellen Dixon Director, Marketing & Communications 203 413-6735 | [email protected] Face & Figure: The Sculpture of Gaston Lachaise Opens at the Bruce Museum on Saturday, September 22, 2012 Gaston Lachaise was more than a gifted sculptor of the human body. He was one of the finest portraitists of his age. Greenwich CT, September 13, 2012 – Face & Figure: The Sculpture of Gaston Lachaise features key examples of the artist’s work – many on loan from leading museums, private collections and the Lachaise Foundation – that reveal the full range of his vision, with special Press Release attention to the fascinating interchange between figural work and portraiture. Executive Director Peter Sutton notes that the sculpture of Gaston Lachaise is among the most powerful, recognizable and enduring of the early twentieth century. “The inspired sensuality of his buoyant nudes uplifts us all and the individuality of his portraits achieves an incisive statement of character scarcely rivaled in three dimensions. Face & Figure addresses these two aspects of the sculptor’s work and explores the intersection of their aims.” Running throughout this contemplative exhibition is the overriding narrative of the obsession Lachaise had with his muse, model and wife, Isabel Dutaud Nagle, who – sirenlike – inspired him to become that rare exception among artists of the 1920s and ’30s, an expatriate Frenchman in New York. Lachaise’s oeuvre is a sustained elaboration of his intense feeling for Nagle’s beauty. The series of great nudes that secured his Head of a Woman (Egyptian Head), 1922 Bronze,13 x 8 x 8 ¼ in.
    [Show full text]
  • Lincoln Kirstein: an American Influence: the Photographs of Walker Evans & Henri Cartier- Bresson at the New York City Ballet Jessica Murphy Ryerson University
    Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 Lincoln Kirstein: An American Influence: The Photographs of Walker Evans & Henri Cartier- Bresson at the New York City Ballet Jessica Murphy Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Murphy, Jessica, "Lincoln Kirstein: An American Influence: The hotP ographs of Walker Evans & Henri Cartier-Bresson at the New York City Ballet" (2012). Theses and dissertations. Paper 1430. This Thesis is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. LINCOLN KIRSTEIN: AN AMERICAN INFLUENCE The Photographs of Walker Evans & Henri Cartier-Bresson at the New York City Ballet by Jessica Murphy BA Honors, University of Western Ontario, London, 2008 A thesis presented to Ryerson University, the Art Gallery of Ontario, and the George Eastman House, International Museum of Photography and Film in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2012 © Jessica Murphy 2012 ii AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research.
    [Show full text]
  • Curating Now: Imaginative Practice/Public Responsibility Full Text Edited by Paula Marincola
    QUESTIONS OF PRACTICE Curating Now: Imaginative Practice/Public Responsibility Full Text Edited by Paula Marincola THE PEW CENTER FOR ARTS & HERITAGE / PCAH.US / @PEWCENTER_ARTS CURATING NOW: IMAGINATIVE PRACTICE/PUBLIC RESPONSIBILITY OCT 14-15 2000 Paula Marincola Robert Storr Symposium Co-organizers Philadelphia Exhibitions Initiative Funded by The Pew Charitable Trusts Administered by The University of the Arts The Philadelphia Exhibitions Initiative is a granting program funded by The Pew Charitable Trusts and administered by The University of the Arts, Philadelphia, that supports exhibitions and accompanying publications.“Curating Now: Imaginative Practice/Public Responsibility” has been supported in part by the Pew Fellowships in the Arts’Artists and Scholars Program. Philadelphia Exhibitions Initiative 230 South Broad Street, Suite 1003 Philadelphia, PA 19102 215-985-1254 [email protected] www.philexin.org ©2001 Philadelphia Exhibitions Initiative All rights reserved ISBN 0-9708346-0-8 Library of Congress catalog card no. 2001 131118 Book design: Gallini Hemmann, Inc., Philadelphia Copy editing: Gerald Zeigerman Printing: CRW Graphics Photography: Michael O’Reilly Symposium and publication coordination: Alex Baker CONTENTS v Preface Marian Godfrey vii Introduction and Acknowledgments Paula Marincola SATURDAY, OCTOBER 14, 2000 AM 3 How We Do What We Do. And How We Don’t Robert Storr 23 Panel Statements and Discussion Paul Schimmel, Mari-Carmen Ramirez, Hans-Ulrich Obrist,Thelma Golden 47 Audience Question and Answer SATURDAY,
    [Show full text]
  • ADF-Timeline.Pdf
    Timeline 1934 • ADF, then known as the Bennington School of Dance, is founded at Bennington College in Bennington, Vermont. The first six-week session attracts 103 students (68 of whom were dance teachers) from 26 states, the District of Columbia, Canada and Spain. Their ages range from 15 to 49. • Martha Hill and Mary Josephine Shelly are Co-Directors. Martha Graham, Doris Humphrey, Charles Weidman, and Hanya Holm, also known as "The Big Four,” are recruited to be faculty. They each teach for a week in succession. 1935 • Martha Graham premieres Panorama with Alexander Calder mobiles (his first dance collaboration). • Doris Humphrey premieres New Dance. • The "Big Four" overlap teaching during the six weeks. 1936 • Betty Ford (Elizabeth Bloomer) is a student. • Humphrey completes her New Dance Trilogy with premiere of With My Red Fires; Weidman creates Quest. • World debut of Lincoln Kirstein's Ballet Caravan. Kirstein delivers lectures on classical ballet. 1937 • Anna Sokolow, José Limón, and Esther Junger are the first Bennington Fellows. • Premieres of Holm's Trend, Limón's Danza de la Muerte, Sokolow's Facade-Esposizione Italiana. • Alwin Nikolais is a student. • Graham premieres two solos. 1938 • Premieres are Graham's American Document, Holm's Dance of Work and Play and Dance Sonata, Humphrey's Passacaglia in C Minor, and Weidman's Opus 51. • Anna Halprin and Alwin Nikolais are students. 1939 • Bennington School of Dance spends summer at Mills College in Oakland, CA. • Merce Cunningham is a student. • Limón premieres 5-part solo, Danza Mexicanas. • John Cage gives concert of percussion music. 1940 • School of Dance returns to Bennington and is incorporated under The School of the Arts to foster relationships with the other arts.
    [Show full text]