DOCSLIB.ORG

Mead Art Museum at Amherst College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mead Art Museum at Amherst College Mead Art Museum at Amherst College Annual Report for the Year 2013–2014 COVER: Visitors to the Mead on Family Fun Day. Photo by Zoe Vayer ’16 ABOVE: The Madrigal Singers performing during the 1st annual Amherst Fringe Festival in the Rotherwas Room. Photo by Stella Honey Yoon ’15 BACK COVER: A visitor to the Mead’s Family Fun Day enjoying books and crafts in the Rotherwas Room. Photo by Zoe Vayer ’16 Mead Art Museum TABLE OF CONTENTS at Amherst College Report from the Director . 2 Annual Report for the Year 2013–2014 Acquisitions . 4 Loans . 14 Research . 16 Financial Information . 19 Grants . 19 Curricular Collaborations . 21 Volunteer Student Docents . 26 Exhibitions . 27 Publications . 30 Programs . 31 Attendance . 36 Security and Facility . 37 Staff, Interns, Docents, Friends, Advisors . 39 Strategic Plan, Status Report . 46 Amherst students enjoying an Evening at the Mead Bingo Night. Photo by Megan Robertson ’15 1 REPORT FROM THE DIRECTOR program, which expanded in February 2014 from a semiannual event to one that takes place monthly. Three New England Museum Association (NEMA) awards. Seven special exhibitions. Seven artists’ A total of 1,636 college students—a figure equiva- talks. One hundred thirty-one college class sessions. lent to 91.7% of Amherst College’s student body— One hundred sixty-six acquisitions. Twenty thou- from sixty-eight courses used the Mead’s collection sand visitors. Record attendance in January, March, in their studies in disciplines ranging from Law, Ju- April, and May of 2014, with an average increase of risprudence, and Social Thought to Spanish, Ameri- 18.5% in the first five months of the calendar year. can Studies, and Women’s & Gender Studies. If we The introduction of a new community reading group compare figures with the 2007–2008 academic and an expansion of Family Fun Days. In 2013–2014, year, when the Mead redoubled its commitment to the Mead was cooking with gas. academic service, the 2013–2014 tally represents a 400% increase in college class visits. Our visitors found much to savor. They listened to talks by artists Jonathon Keats (Amherst Col- Equally important, the range of artworks selected lege Class of 1994), Barbara Bosworth, Ekaterina for teaching and research has expanded at a Khromin, Michael Starkman (Amherst College comparable rate. Such diversification surely results Class of 1974), Robert Priseman, Katja Oxman, and from the special project, underwritten by the Sandra Matthews; a discussion with art collectors Institute for Museum and Library Services (IMLS) John Wieland (Amherst College Class of 1958), and completed in the fall of 2013, to digitize most John Hillman (Amherst College Class of 1966), and of the Mead’s 18,000 artworks. Today, 99.3% of Charles Wilkes (Amherst College Class of 1971 and the paintings; 99% of the sculpture; 98% of the Parent, Class of 2008). They participated in discus- drawings, prints, photographs, and decorative arts sions of the Mead Reads community book club and objects; and 61% of the furniture in the Mead’s col- enjoyed picture-book readings for children in the lection has been digitally photographed. With 94% Mini Mead Reads summer series. Many happy visi- of the collection now illustrated online—and new tors joined in the festivities of the Family Fun Days images continuing to be added—faculty are em- Director Elizabeth Barker gives a Homecoming tour. Photo by Joshua Baum 2 powered to select the most pertinent, rather than Professional peers also recognized the fine work simply the most familiar, objects for examination. of our colleagues: as this report goes to press, the This refinement in the selection process not only New England Museum Association has honored ensures that students encounter the most relevant the Mead’s achievements with three awards in the objects for their courses; it also continues to yield small-museum category: the top prize for website new discoveries in the vaults, as professors and design, and second place for the Picturing Enlight- other scholars shed light on works not yet studied enment catalogue and the “Dig Into Art” family by the curators. activity totes. The process of photographing so many artworks New members of our team promise to help main- in such rapid succession has drawn attention to tain this high standard of accomplishment in the opportunities for enhancing the museum’s storage years ahead. This spring, Katherine LeBeau joined areas, and prompted in the past year an important the museum’s staff as Accounting Manager, and Dr. expansion of the Mead’s print storage area, provid- Vanja Malloy will begin work as Curator of Ameri- ing sufficient space for years of additional growth. can Art and Keely Sarr as Assistant Educator this Digitization has also raised the prominence of the summer. During the 2013–2014 academic year, Mead’s collection around the globe, and increased Fiore Graziano, Alyssa Kristek, Roman Kucinski, the demand for access to publishable-quality im- Linda Matson, and Samuel Schwartz joined the ages. To streamline this process, in 2013–2014, the security team. Mead launched its long-awaited partnership with Bridgeman Images. Like the Mead’s arrangement Further staff transitions are planned for the fall. with Amazon to sell museum publications, this as- On October 1, I will become Stanford Calderwood sociation promises to free staff time for essential Director of the Boston Athenaeum, a position that collections work that can only be performed onsite. will allow me to continue, on a larger scale, the type of work I’ve keenly enjoyed here at Amherst— The Mead’s exhibition schedule in 2013–2014 ad- leading a talented team to energize, grow, and dressed a range of topics, from animals in art of make more inclusive an august New England cul- the ancient Americas to woodblock prints depicting tural institution. During the national search for the the start of the Russo-Japanese War and Barbara next Mead director, Dr. Pamela Russell, Head of Bosworth’s recent large-format photographs of the Education and Mellon Curator of Academic Pro- New England National Scenic Trail. Two exhibitions grams at the Mead, will serve as interim director. I featured selections from the more than 1,200 ac- know that you will welcome her as warmly in that quisitions made over the past seven years. Another, role as you have me. notably innovative project explored the previously little-known work of Kyohei Inukai, a Japanese- Thank you for the support and kindness that so born New York society portraitist active during the many of you—students, colleagues, alumni, and first half of the twentieth century and deserving of museum regulars—have extended to me. I look greater fame. forward to following the Mead’s continued success in the years ahead, and to seeing many of you again The Inukai exhibition received a favorable notice in Boston, or perhaps in Amherst. After all, I feel in the New York Times. And that wasn’t the only as you do: I wouldn’t dream of setting foot in the appearance of the Mead in the media during the Pioneer Valley without visiting the ever-changing, past year. The Tibetan tangka catalogue received always marvelous Mead! a positive review in the Wall Street Journal (shortly before the works in that exhibition are due to be shown at the Middlebury College Museum of Art), and the Mead’s decision to reopen a decades-old stolen-painting case with the help of the FBI attract- Elizabeth E. Barker, Ph.D. ed a flurry of television and newspaper coverage. Director 3 ACQUISITIONS Paul Ackerman (American, born 1936), Here I Come, Brooklyn, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist GIFTS (alphabetical by artist) (Class of 1958) (2014.09) Paul Ackerman (American, born 1936), The Conversation, Paul Ackerman (American, born 1936), Good Friends, Brighton Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the Beach, Brooklyn, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.10) artist (Class of 1958) (2014.07) Paul Ackerman (American, born 1936), My Brother Gives a Good Paul Ackerman (American, born 1936), Miss Sunshine, Shine, NYC, 1952; print 2014. Gelatin silver print. Gift of the Sheepshead Bay, Brooklyn, 1952; print 2014. Gelatin silver print. artist (Class of 1958) (2014.11) Gift of the artist (Class of 1958) (2014.08) Paul Ackerman (American, born 1936), A Hard Day’s Work, The Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.12) Paul Ackerman (American, born 1936), Barefoot in the Park - Central Park Zoo, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.13) Paul Ackerman (American, born 1936), The News Stand, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.14) Paul Ackerman (American, born 1936), Lunch in the Park, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.15) Paul Ackerman (American, born 1936), In the Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.16) Paul Ackerman (American, born 1936), (A Hard Day’s Night) The Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.17) Paul Ackerman (American, born 1936), The Funeral, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.18) Sol LeWitt (American, 1922-2007), Untitled, 1999. Gouache on 100% cotton Paul Ackerman (American, born 1936), The Funeral #2, NYC, paper. Gift of Mary Patricia Pence (2013.113) 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.19) Paul Ackerman (American, born 1936), Time Out for Lunch, The Bowery, NYC, 1952; print 2014.
Load more

Recommended publications
  • Timely Timeless.Indd 1 2/12/19 10:26 PM Published by the Trout Gallery, the Art Museum of Dickinson College, Carlisle, Pennsylvania 17013
    Timely and Timeless Timely Timely and Timeless Japan’s Modern Transformation in Woodblock Prints THE TROUT GALLERY G38636_SR EXH ArtH407_TimelyTimelessCover.indd 1 2/18/19 2:32 PM March 1–April 13, 2019 Fiona Clarke Isabel Figueroa Mary Emma Heald Chelsea Parke Kramer Lilly Middleton Cece Witherspoon Adrian Zhang Carlisle, Pennsylvania G38636_SR EXH ArtH407_Timely Timeless.indd 1 2/12/19 10:26 PM Published by The Trout Gallery, The Art Museum of Dickinson College, Carlisle, Pennsylvania 17013 Copyright © 2019 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from The Trout Gallery. This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. First Published 2019 by The Trout Gallery, Carlisle, Pennsylvania www.trougallery.org Editor-in-Chief: Phillip Earenfight Design: Neil Mills, Design Services, Dickinson College Photography: Andrew Bale, unless otherwise noted Printing: Brilliant Printing, Exton, Pennsylvania Typography: (Title Block) D-DIN Condensed, Brandon Text, (Interior) Adobe Garamond Pro ISBN: 978-0-9861263-8-3 Printed in the United States COVER: Utagawa Hiroshige, Night View of Saruwaka-machi, from the series One Hundred Famous Views of Edo (detail), 1856. Woodblock print, ink and color on paper. The Trout Gallery, Dickinson College, Carlisle, PA. 2018.3.14 (cat. 7). BACK COVER: Utagawa Hiroshige, Night View of Saruwaka-machi, from the series One Hundred Famous Views of Edo (detail), 1856.
    [Show full text]
  • Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
    Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media.
    [Show full text]
  • Japanese Woodblock Print Collection
    http://oac.cdlib.org/findaid/ark:/13030/c8qz2j76 No online items Inventory of the Japanese woodblock print collection Finding aid prepared by Hoover Institution Library and Archives Staff Hoover Institution Library and Archives © 2021 434 Galvez Mall Stanford University Stanford, CA 94305-6003 [email protected] URL: http://www.hoover.org/library-and-archives Inventory of the Japanese woodblock 2019C113 1 print collection Title: Japanese woodblock print collection Date (inclusive): ca. 1894-1932 Collection Number: 2019C113 Contributing Institution: Hoover Institution Library and Archives Language of Material: Japanese Physical Description: 2 oversize boxes(2.0 Linear Feet) Abstract: Japanese woodblock prints (nishiki-e) depicting battle and political scenes, primarily from the late 19th century. Hoover Institution Library & Archives Access The collection is open for research; materials must be requested at least two business days in advance of intended use. Publication Rights For copyright status, please contact the Hoover Institution Library & Archives. Acquisition Information Materials were acquired by the Hoover Institution Library & Archives in 2020. Preferred Citation [Identification of item], Japanese Woodblock Print Collection, [Box no., Folder no. or title], Hoover Institution Library & Archives Scope and Content of Collection Japanese woodblock prints (nishiki-e) of battle and political scenes, primarily from the late 19th century. Subjects and Indexing Terms Sino-Japanese War, 1894-1895 -- Pictorial works Russo-Japanese
    [Show full text]
  • Sophia Smith Collection from 1971 to 1992
    MORTIMER RARE BOOK ROOM SMITH COLLEGE Oriele Horch Farb Feshbach Papers ca. 1931-2016 35 Linear Feet (66 boxes) MS 388 Processed by Daria D’Arienzo 2016 Contact information Mortimer Rare Book Room Smith College Northampton, Massachusetts 01063 413-585-2906; fax: 413-585-2904 [email protected] https://www.smith.edu/libraries/libs/rarebook 2 Oriole Horch Farb Feshbach Papers, ca. 1931-2016 35 linear ft. (66 boxes) TABLE OF CONTENTS Page Boxes Biographical note 3 Copyright and Access 4 Provenance 5 Other collections 6 Scope and Content 7 Series I: Personal: Education, Family and Travel 13-16 1-4 Series II: Yearly Files 17-34 5-10 Series III: Professional 35-38 11-13 Series IV: Teaching and Teaching Tools 39-40 14 Series V: Correspondence 41-42 15-16 Series VI: Poets 43-46 17-18 Series VII: Artists 47-48 19-20 Series VIII: Scrapbooks 49-53 21-24 Series IX: Bibliography/Printed Material 54-60 25-29 Series X: Process and Research 61-62 30-31 Series XI: Artwork 63-66 32-35 Series XII: Projects 67 36 Series XIII: A Vanitas Self-Portrait Book 68-73 37-41 Mortimer Rare Book Room Smith College Northampton, Massachusetts 3 Series XIV: Illuminations 74-77 42-44 Series XV: Parallels: Artists/Poets 78-79 45-46 Series XVI: Luminations 80-82 47-49 Series XVII: Slides: Artwork 83 50-51 Series XVIII: Photographs: Artwork 84-96 52-54 Series XIX: Photographs: Models 97-104 55-58 Series XX: Photographs: Exhibitions 105-107 59-61 Series XXI: Media 108 62 Series XXII: A Dozen Humpty Dumpty Egg Tales 109-110 63-64 Series XXIII: Oversize Flat Boxes 111 65-66 Subject Headings and Added Entries 112 Mortimer Rare Book Room Smith College Northampton, Massachusetts 4 Oriole Horch Farb Feshbach Papers BIOGRAPHICAL NOTE OHFF 1939, she graduated with honors from Hillhouse High School.
    [Show full text]
  • WEB Amherst Sp18.Pdf
    ALSO INSIDE Winter–Spring How Catherine 2018 Newman ’90 wrote her way out of a certain kind of stuckness in her novel, and Amherst in her life. HIS BLACK HISTORY The unfinished story of Harold Wade Jr. ’68 XXIN THIS ISSUE: WINTER–SPRING 2018XX 20 30 36 His Black History Start Them Up In Them, We See Our Heartbeat THE STORY OF HAROLD YOUNG, AMHERST- WADE JR. ’68, AUTHOR OF EDUCATED FOR JULI BERWALD ’89, BLACK MEN OF AMHERST ENTREPRENEURS ARE JELLYFISH ARE A SOURCE OF AND NAMESAKE OF FINDING AND CREATING WONDER—AND A REMINDER AN ENDURING OPPORTUNITIES IN THE OF OUR ECOLOGICAL FELLOWSHIP PROGRAM RAPIDLY CHANGING RESPONSIBILITIES. BY KATHARINE CHINESE ECONOMY. INTERVIEW BY WHITTEMORE BY ANJIE ZHENG ’10 MARGARET STOHL ’89 42 Art For Everyone HOW 10 STUDENTS AND DOZENS OF VOTERS CHOSE THREE NEW WORKS FOR THE MEAD ART MUSEUM’S PERMANENT COLLECTION BY MARY ELIZABETH STRUNK Attorney, activist and author Junius Williams ’65 was the second Amherst alum to hold the fellowship named for Harold Wade Jr. ’68. Photograph by BETH PERKINS 2 “We aim to change the First Words reigning paradigm from Catherine Newman ’90 writes what she knows—and what she doesn’t. one of exploiting the 4 Amazon for its resources Voices to taking care of it.” Winning Olympic bronze, leaving Amherst to serve in Vietnam, using an X-ray generator and other Foster “Butch” Brown ’73, about his collaborative reminiscences from readers environmental work in the rainforest. PAGE 18 6 College Row XX ONLINE: AMHERST.EDU/MAGAZINE XX Support for fi rst-generation students, the physics of a Slinky, migration to News Video & Audio Montana and more Poet and activist Sonia Sanchez, In its interdisciplinary exploration 14 the fi rst African-American of the Trump Administration, an The Big Picture woman to serve on the Amherst Amherst course taught by Ilan A contest-winning photo faculty, returned to campus to Stavans held a Trump Point/ from snow-covered Kyoto give the keynote address at the Counterpoint Series featuring Dr.
    [Show full text]
  • Five College Yearbook 2012-2013
    YEARBOOK Report on 2012–2013 AMHERST | HAMPSHIRE | MOUNT HOLYOKE | SMITH | UMASS AMHERST FIVE COLLEGE CONSORTIUM TIMELINE 1910 1914 Committee on University Extension of the Connecticut Valley Colleges is established 1922 1920 to offer extension courses in Committee on University the Pioneer Valley. 1948 Extension sponsors the First joint faculty appointment, country’s first courses taught in economics, created. over radio. 1959 Literary magazine Massachu- 1958 setts Review founded with 1951 The New College Plan: consortium support. 1950 Four College Library coopera- A Proposal for a Major tion begins with the creation 1957 Departure in Higher Education First joint department, of the Hampshire Inter-Library First coordinator of Four College recommends the establishment astronomy, is established. Loan Center (HILC), a shared, affairs, Sidney R. Packard, of a fifth, experimental college There are now two joint circulating serials collection. begins term. in the Pioneer Valley. departments. 1965 1966 Latin American Studies, first First Five College Fellow joint area studies program, named. founded. 1961 1960 Four Colleges, Incorporated Four Colleges, Incorporated is Four College Bus system becomes Five Colleges, created. The campuses assist launched college. 1960 Incorporated after Hampshire with planning and fund-raising WFCR (Four College joins. for a new college. 1979 College Radio) Neill Endowment of $1 million begins broadcasting. is established by private donor to support visiting scholars. Consortium provides 1973 1978–79 subsidies to Pioneer Valley 1970 Student cross registration Five College Dance Transit Authority (PVTA) for free 1970 without additional fee or Department is established; transportation for students and Hampshire College admits inter-campus reimbursement operated previously as Five campus employees on its first students.
    [Show full text]
  • Revealing Details in Light and Shadows
    ABOUT THE COVER Kobayashi Kiyochika (1847–1915), Mosquito Net and Full Moon at Shinagawa, 1884 (detail), from the series One Hundred Views of Musashi. Woodblock print; ink and color on paper 14 5/8 in x 9 13/16 in/ 37.2 cm x 24.9 cm). Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC, United States, Robert O. Muller Collection, S2003.8.1217. Revealing Details in Light and Shadows Byron Breedlove and Reginald Tucker uring the Edo period (1603–1868) in Japan, a time As an artist who successfully fused motifs and ideas Dwhen Tokugawa Ieyasu and his descendants ruled, from Japanese and Western art, Kobayashi Kiyochika occu- economic growth gave rise to a more literate, sophisticated, pies a unique niche among Japanese illustrators of the Edo and affluent culture, hungry for the trappings of luxury, in- period. Japanese art historian, dealer, and collector Rich- cluding extravagant art. This cultural shift was described ard Lane considers Kiyochika to be both the last important by the phrase ukiyo, or “floating world,” which was asso- ukiyo-e artist and the first exponent of the modern Japanese ciated with the pursuit of pleasure and hedonism in urban woodcut. Kato Yosuke, curator of Nerima Art Museum, areas. The art of the Edo period, dominated by painting and Tokyo, explains that “Kiyochika is often referred to as the woodblock prints, came to be known as “pictures of the last ukiyo-e artist” because he stuck to colored woodblock floating world” or ukiyo-e. prints and “kept pinning his hope on their potential until the end, despite the diversification and development of printing Author affiliation: Centers for Disease Control and Prevention, techniques in modern times.” Atlanta, Georgia, USA Kiyochika’s ukiyo-e color woodblock prints, as well DOI: https://doi.org/10.3201/eid2405.AC2405 as his newspaper illustrations and wartime propaganda art, Emerging Infectious Diseases • www.cdc.gov/eid • Vol.
    [Show full text]
  • Museum Educator Mead Art Museum Amherst College Invites Applications for the Museum Educator Position at the Mead Art Museum. Th
    Museum Educator Mead Art Museum Amherst College invites applications for the Museum Educator position at the Mead Art Museum. The Museum Educator is a full time, year round position, job group and level PT-2. Amherst College has profoundly transformed its student body in terms of socioeconomic status, ethnicity, and nationality, among other areas. Today, nearly one-quarter of Amherst’s students are Pell Grant recipients; 45 percent of our students identify as domestic students of color. Our expectation is that the successful candidate will excel at working in a community that is broadly diverse with regard to race, ethnicity, socioeconomic status, gender, nationality, sexual orientation, and religion. The Museum Educator expands Amherst College students’ engagement with art and cultural sector experiences at the Mead through creative leadership and mentorship of Team Mead (student museum group) and students working across the museum, including museum educators, lobby attendants, and interns. The Museum Educator intentionally designs programs to increase access to the museum for students and community members who hold historically marginalized identities. In particular, Creates and implements cohort-based programs for college students including internships, interterm courses, and fall orientation weekends. Designs collaborative student-facing programs in conjunction with Amherst College and Five College organizations that broaden and deepen relationships on and off campus to diverse communities. Creates education partnerships with K-12 schools and builds Amherst College student learning into them. The Museum Educator identifies and advocates for policies and programs that contribute to an inclusive museum experience. Takes appropriate actions to support a diverse workforce and participates in the College’s efforts to create a respectful, inclusive, and welcoming work environment.
    [Show full text]
  • An Introduction to Five Colleges, Incorporated
    An Introduction to Five Colleges, Incorporated Amherst College * Hampshire College * Mount Holyoke College Smith College *University of Massachusetts Amherst Published by: Five Colleges, Incorporated Fall, 2020 Welcome to the Five College Consortium! This guide offers an introduction to Five Colleges, Incorporated (our legal name, often referred to here as FCI) and its broad portfolio of activities, including an overview of the various administrative structures, funding sources, and processes used to initiate and sustain Five College agreements and programs. This guide is designed to be read (or skimmed) in a single sitting, and so detail is intentionally limited. Each section attempts to address the most common questions posed by those new to the Consortium (FCI staff, campus leaders, faculty, and others), and by other organizations preparing to embark on a collaborative undertaking. Please reach out for any additional information you may require. I’m glad you’re here. Sarah K.A. Pfatteicher, Ph.D. Executive Director September, 2020 Table of Contents Preface: The Member Institutions 3 I. Five Colleges, Incorporated: A Historical Perspective 4 II. Structure, Governance, and Finance 6 Governance and Structure 7 Finance 8 III. Academic Collaborations 11 Student Interchange 11 Shared Academic Programs and Programming 13 Five College Departments and Majors 13 Five College Certificate Programs 14 Center for World Languages 15 Other Five College Curricular Programs 16 Faculty and Student Development 17 Other Academic Programming 19 Shared Faculty 20 Joint Appointed Faculty 20 Faculty Exchange/Borrow/Overload 21 IV. Enterprise Collaborations 22 Accessibility 22 Collegiate Catalyst Fund, LLC - CCF 22 Compliance and Risk Management - CRMP 23 Emergency Preparedness 23 Five College Net, LLC - FCN 24 Massachusetts Higher Education Consortium - MHEC 24 MIMSY / Next Generation MIMSY 24 Technology-Enhanced Learning 25 1 V.
    [Show full text]
  • 01Between.Pdf
    “Between 'Nostalgie' and Sehnsucht' ―Kinoshita Mokutaro's Europe,”Return to Japan from Pilgrimage to the West, ed. by Yoichi Nagashima, Aarhus University Press,2001, pp.125-133. KINOSHITA MOKUTARO Between Between IINostalsie" and IISehnsucht" Kinoshita - Kinoshita Mokutaro's Europe Shigemi Shigemi INAGA Inaga Inaga Shigemi is Associate Professor at the International Research Center for Japanese Stud- iesjGraduate iesjGraduate School for Advanced Studies in Kyoto. He received his Ph.D from l'Universite Paris VII VII in Paris on Theodore Duret (1838 ・1927) du journaliste politique a l' histori 討1 d'artjaponisant in in 1988 and graduated from the Department of Comparative Literature and Culture at the Univer- sity sity of Tokyo the same year. Specialist in Orientalism and Japonism in artistic exchange between the the East and the Wes t， he has published extensively on historical as well as theoretical issues in Japanese ，English and French. His book The Twilight of Painting ， The Posthumous Struggle of Edouard Edouard Manet (University of Nagoya Press ， 1997) was awarded the Shibusawa-Claudel Special Prize ， The Suntry Scholary Prize and the Ringa Prize for the promotion in artistic research in 1997. 1997. He is prepa 吋ng his second book on The Orient in Painting and editing a critical reader ， Toward Toward the Ethics in Cross ・Cultural Understandings. Pilgrimage “Pilgrimage to Europe" and “ Return to ]apan" -a pattern widely observed among modern] apanese intellectuals 仕om the 1860s up to the 1980s ，finds a singularly singularly nuanced and particularly complicated example in Dr. Ota Masao ， alias alias Kinoshita Mokutaro (1885-1945). At first sight ， the “ looping pattern between the West of fantasy and the ]apan of nostalgia" does not typically fit in his his case.
    [Show full text]
  • Bridging East and West: the Search for Japan in the Midst of Modernization
    Connecticut College Digital Commons @ Connecticut College Friends of the Library Occasional Publications Friends of the Connecticut College Library 1-23-2008 Bridging East and West: The eS arch for Japan in the Midst of Modernization Sydney L. LaLonde Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/folpub Recommended Citation LaLonde, Sydney L., "Bridging East and West: The eS arch for Japan in the Midst of Modernization" (2008). Friends of the Library Occasional Publications. Paper 2. http://digitalcommons.conncoll.edu/folpub/2 This Article is brought to you for free and open access by the Friends of the Connecticut College Library at Digital Commons @ Connecticut College. It has been accepted for inclusion in Friends of the Library Occasional Publications by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Bridging East and West The Search for Japan in the Midst of Modernization An exhibition in the Charles E. Shain Library January 21-February 14, 2008 by Sydney LaLonde ‘08 Cover image: Great Bridge (Ōhashi) at Atake by Shōda Kōhō (1875-1946) Shain Library Collection The printing of this catalogue has been paid for by The Friends of the Connecticut College Library Bridging East and West: The Search for Japan in the Midst of Modernization Japanese woodblock printing experienced a resurgence and transformation in the wake of Japan’s modernization. After the collapse of the Tokugawa shogunate that indicated the end of the Edo period in 1868, Japan opened to the West and the country enthusiastically embraced Western ideas, institutions, and technology.
    [Show full text]
  • Private Collection
    private collection DH PRIVATE COLLECTION | Page 5 TABLE OF CONTENTS INTRODUCTION 38. OCHIAI YOSHIIKU: NEWSPAPER - NICHINCHI SHIMBUN NO.978 53 DARYL HOWARD AND CLAUDE HOLEMAN 10 39. TSUKIOKA YOSHITOSHI: THE CHILD OF HORISAKA SAHEI 54 DR. RICHARD LANE AND CLAUDE HOLEMAN 11 40. TSUKIOKA YOSHITOSHI: MIKI TOYOKICHI 55 41. TSUKIOKA YOSHITOSHI: MOON AT SKUJAKU GATE 56 BIJUTSU SEKAI BOOKS AND CLAUDE HOLEMAN 78, 79 42. TSUKIOKA YOSHITOSHI: 100 ASPECTS OF THE MOON WITH FAN 57 PAUL JACOULET AND CLAUDE HOLEMAN 166, 167 43. TSUKIOKA YOSHITOSHI: KESA GOZEN 58 44. TSUKIOKA YOSHITOSHI: 100 ASPECTS OF THE MOON WITH GUITAR 59 45. TOYOHARA KUNICHIKA: JUSENRO - THIRTY-SIX MODERN RESTAURANT 60 46. TOYOHARA KUNICHIKA: TOKYO BOASTS SPECIALTY ASSOCIATION 61 CONTENTS 47. KOBAYASHI KIYOCHIKA: CHUSHINGURA, YURANOSUKE IN RETIREMENT 62 1. UNKNOWN: DEATH OF THE BUDDHA (PAINTING) 12 48. ADACHI GINKO: NOBLEMAN AND ROOFTOP GHOST 64 2. UNKNOWN ARTIST : BUDDHIST PRINT, MOUNTAIN GOD 13 49. ADACHI GINKO: SOGA BROTHERS ATTACKING SUKETSUNE 65 3. TORII KYIOMITSU: LACQUER PRINT 14 50. MIYAGAWA SHUNTEI: IRIS GARDEN IN JUNE 66 4. TOSA MITSUOKI 15 51. MIYAGAWA SHUNTEI: APRIL 68 5. SHUNSHO: AN EARLY SHUNSHO PRINT 16 52. OGATA GEKKO: #7: 36 PRINT SERIES 70 6. KATSUKAWA SHUNSHO : ONE HUNDRED POEMS BY ONE HUNDRED POETS 17 53. OGATA GEKKO: BENTEN SHRINE AT INOKASHIRA 71 7. UNKNOWN: KABUKI POSTER 18 54. OGATA GEKKO: THE DIVINE POWER OF FUDO AND THE NOVICE YUTEN 72 8. NAGAHIDE: OSAKA PRINT 19 55. OGATA GEKKO: HAYAMI TOZAEMON MITSUTAKA 73 9. KAWANABE GYOSAI: THE CROW (SUMI YE PAINTING ON PAPER) 20 56. OGATA GEKKO: HARA SOMEONE MOTOTOKI 74 10.
    [Show full text]