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Annual Report 2016
Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors. -
Annual Report 2018
2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach. -
April 1920) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1920 Volume 38, Number 04 (April 1920) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 38, Number 04 (April 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/667 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. Jlae Utiuiufi SPRING NUMBER 1MUUISZ5 LJEJNTS APRIL 1920 $ 2.00 A YEAR The Tonne daugrhter of the Into Tnrasn-Bonlba, a new opera by A Brrent Opera Trnst, according: to Colerldgre-Taylor is following a musical Marcel Sninuel-Houssenu, was recently report. Is being proposed in tlif« career, and has already a number of songs country, which would control all presenta¬ tions of opera, all singers, all opera houses, ■SS.rJE •! *£rS'.!Bf j" ' 1 CONTENTS FOR APRIL, 1920 sHSr!Sir'-s‘^“'s SV,s£S: APRIL 1920 Page THE ETUDE Page 218 APRIL 1920 THE Jane Novak in “The River’s End” Jane Novak is an emotional ac¬ PUPILS RECITALS AND PLEASED AUDIENCES tress of sincere power and dis¬ tinguished ability. -
Summer 2013 in “John Singer Sargent Watercolors,” Brooklyn Museum, NY
museumVIEWS A quarterly newsletter for small and mid-sized art museums John Singer Sargent, Simplon Pass: Reading, c.1911. Opaque and translucent watercolor and wax resist with graphite underdrawing. Summer 2013 In “John Singer Sargent Watercolors,” Brooklyn Museum, NY 1 museumVIEWS Features Summer 2013 Page 3 • Biennale • From the AAM Page 4 • Notes about an Artist: Left: Reference photo for Norman Rockwell’s Breakfast Table Politcal Arguement Above: Norman Rockwell, Breakfast Table Politcal Arguement, Ellsworth Kelly (detail) 1948. Illustration for The Saturday Evening Post. Both in “Norman Rockwell: Behind the Camera,” McNay Art Museum, TX • Building an Emergency Plan Page 5 • African-American Art Hits the Nation’s Museums • Numbers Game: Some Museum Statistics • Research Results in Surprise Findings Page 6 • Baruch and Rubin Pair up for Conference Pages 7 • Tips for Travel Off the Beaten Track Page 8-11 • newsbriefs Pages 12 • Textiles Take Center Stage in Denver Pages 13-19 • summerVIEWS Ridley Howard, Blues and Pink (detail), 2012. Oil on linen. In “Ridley Howard,” Museum of Fine Arts, Boston, MA Jeffrey Gibson, Much Stronger Than You Know, 2013. Acrylic and oil paint on deer hide stretched over wood panel. In “Jeffrey Gibson: Said the Pigeon museumVIEWS to the Squirrel,” National Academy Museum, NY Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, New York, NY 10010 Phone: 212.677.3415 FAX: 212.533.5227 Email: [email protected] On the web: www.museumviews.org MuseumVIEWS is supported by grants from the Horace W. Goldsmith Foundation and Bloomberg. MuseumVIEWS is published 4 times a year: Winter (Jan. -
How Public Art Gets Lost - and Saved - in Philly
How public art gets lost - and saved - in Philly JANUARY 8, 2016 by Samantha Melamed For fans of public art in Philadelphia, it still stings to think about that day in 1998 when word got out that an iconic wall sculpture by artist Ellsworth Kelly had been removed from the old Greyhound office building, quietly sold, and given to New York's Museum of Modern Art. It wasn't the first or last great work of public art to be lost to Philadelphia through some combination of intercity poaching, heedless development, and neglect. In fact, even as the Gallery mall closed for renovations Jan. 1, the fate of its public art remained unclear. The same goes for other works that have languished in storage, with limited money for preservation. Still, losing the work by Kelly, who died Dec. 27, wasn't entirely a bad thing, said Penny Balkin Bach, executive director of the Association for Public Art, a nonprofit that commissions, preserves, and promotes works in the city. "The removal of the Kelly was this sort of slap-in-the-face wake-up call that we needed as a city and as a cultural community to pay more attention to these kinds of things," she said. Her organization has become more proactive since, as have art fans. "Having the public's eyes and ears alert is probably our greatest protection." Now, scrap yards call her when they come across bronze sculptures they suspect have been stolen, and New York gallery owners tip her off when important works come up for sale. -
Operations RG.03
Operations RG.03 This finding aid was produced using ArchivesSpace on January 24, 2019. Describing Archives: A Content Standard The papers of the American Academy in Rome 7 East 60 Street New York, New York 10022 [email protected] URL: http://www.aarome.org Operations RG.03 Table of Contents Summary Information .................................................................................................................................... 3 Scope and Contents ........................................................................................................................................ 3 Arrangement ................................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Collection Inventory ....................................................................................................................................... 4 - Page 2 - Operations RG.03 Summary Information Repository: The papers of the American Academy in Rome Title: Operations ID: RG.03 Date [inclusive]: 1895-2018 Physical Description: 209.45 Linear Feet Language of the English Material: ^ Return to Table of Contents Scope and Contents This Record Group is comprised of records that document the functions of the American Academy in Rome (AAR). Records in this group include administrative files that document the daily operations -
The Pennsylvania Academy of the Fine Arts
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS BROAD AND CHERRY 5T5. • PHILADELPHIA 153rd ANNUAL REPORT 1958 Cover: The Fish House Door by John F. Peto Collection Fund Purchase 1958 the One-Hundred and Fifty-third Annual Report of THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FOR THE YEAR 1958 Presented to the Meeting of the Stockholders of the Academy on February 2, 1959 OFFICERS John F. Lewis, Jr. President, 1949-0ctober, 1958 Henry S. Drinker Vice-Pres., 1933-0ctober, 1958; President, October, 1958- C. Newbold Taylor . Treasurer Joseph T. Fraser, Jr. Director and Secretary BOARD OF DIRECTORS Mrs. Leonard T. Beale Arthur C. Kaufmann Howard C. Petersen Mrs. Richardson Dilworth* John F. Lewis, Jr. George B. Roberts Henry S. Drinker James P. Magill Raymond A. Speiser David Gwinn Fredric R. Mann* John Stewart George Harding* Sydney E. Martin C. Newbold Taylor Frank T. Howard Mrs. Herbert C. Morris Mrs. Elias Wolf* R. Sturgis Ingersoll George P. Orr** Sydney L. Wright * Ex-officio Alfred Zantzinger **Resigned Sept_ 1958 STANDING COMMITTEES COMM ITT EE ON COLL EC TI ONS AND EX HI BITIONS George B. Roberts, Chairman Mrs. Leonard T. Beale R. Sturgis Ingersoll Alfred Zantzinger CO MM ITTEE O N FIN AN CE C. Newbold Taylor Chairman James P. Magill John Stewart COMM ITTEE ON IN ST RU CTION James P. Magill, Chairman Mrs. Leonard T. Beale Mrs. Richardson Dilworth David Gwinn Mrs. Elias Wolf SOLICITOR Maurice B. Saul WOMEN'S COMMITTEE Mrs. Hart McMichael . Chairman to May, 1958 Mrs. Elias Wolf . Chairman, May, 1958- Mrs. George B. Roberts Corresponding Secretary-Treasurer Mrs. -
BODILY KNOWLEDGE in DANCE TRANSFERRED to the CREATION of SCULPTURE by Nazaré Feliciano a Dissertation Submitted to the Faculty
BODILY KNOWLEDGE IN DANCE TRANSFERRED TO THE CREATION OF SCULPTURE by Nazaré Feliciano A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2014 Copyright by Nazaré Feliciano 2014 ii ACKNOWLEDGMENTS This dissertation was possible because of the help and support of many others. I want to express gratitude to those who inspired me and who showed me the way. To begin, I want to express my gratitude to Mary Frank whose sculptures inspired me to write this dissertation and for her welcoming into her art studio. I wish to express sincere thanks to the members of my committee. To Dr. Brian McConnell, who believed in this project from the beginning and gave me guidance and encouragement to it’s completion. To Dr. Marcella Munson for her insights into the various dimensions of this topic. To Professor Clarence Brooks for his contagious energy and insights of the dance world. I also owe thanks to Professor Gvozden Kopani for his advice on focusing all course work assignments toward my dissertation. A special thank you to Dr. Richard Shusterman who kindly reviewed the discussion of somaesthetics in my dissertation. Deepest gratitude to my dissertation angels: To Frederick Krantz, who enthusiastically proofread and edited every chapter of this manuscript and made suggestions for better readability. To Maureen Riley who gave me support and organization guidance throughout the development of this work. Finally, I am deeply indebted to my family and friends without whose loving care and enthusiasm I wouldn’t be able to finish this project. -
Drawing Surrealism CHECKLIST
^ Drawing Surrealism CHECKLIST EILEEN AGAR Argentina, 1899–1991, active England Ladybird , 1936 Photograph with gouache and ink 3 3 29 /8 x 19 /8 in. (74.3 x 49.1 cm) Andrew and Julia Murray, Norfolk, U.K. Philemon and Baucis , 1939 Collage and frottage 1 1 20 /2 x 15 /4 in. (52.1 x 38.7 cm) The Mayor Gallery, London AI MITSU Japan, 1907–1946 Work , 1941 Sumi ink 3 1 10 /8 x 7 /8 in. (26.4 x 18 cm) The National Museum of Modern Art, Tokyo GUILLAUME APOLLINAIRE Italy, 1880–1918, active France La Mandoline œillet et le bambou (Mandolin Carnation and Bamboo), c. 1915–17 Ink and collage on 3 pieces of paper 7 1 10 /8 x 8 /8 in. (27.5 x 20.9 cm) Musée national d’art moderne, Centre Georges Pompidou, Paris, Purchase 1985 JEAN (BORN HANS) ARP Germany, 1886–1966, active France and Switzerland Untitled , c. 1918 Collage and mixed media 1 5 8 /4 x 11 /8 in. (21 x 29.5 cm) Mark Kelman, New York Untitled , 1930–33 Collage 1 5 6 /8 x 4 /8 in. (15.6 x 11.8 cm) Private collection Untitled , 1940 Collage and gouache 1 1 7 /4 x 9 /2 in. (18.4 x 24.1 cm) Private collection JOHN BANTING England, 1902–1972 Album of 12 Blueprints , 1931–32 Cyanotype 1 3 3 Varying in size from 7 3/4x 6 /4 in. (23.5 x 15.9 cm.) to 12 /4 x 10 /4 in. (32.4 x 27.3 cm) Private collection GEORGES BATAILLE France, 1897–1962 Untitled Drawings for Soleil Vitré , c. -
Atlanta Heritage Trails 2.3 Miles, Easy–Moderate
4th Edition AtlantaAtlanta WalksWalks 4th Edition AtlantaAtlanta WalksWalks A Comprehensive Guide to Walking, Running, and Bicycling the Area’s Scenic and Historic Locales Ren and Helen Davis Published by PEACHTREE PUBLISHERS 1700 Chattahoochee Avenue Atlanta, Georgia 30318-2112 www.peachtree-online.com Copyright © 1988, 1993, 1998, 2003, 2011 by Render S. Davis and Helen E. Davis All photos © 1998, 2003, 2011 by Render S. Davis and Helen E. Davis 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, photocopy, recording, or any other—except for brief quotations in printed reviews, without prior permission of the publisher. This book is a revised edition of Atlanta’s Urban Trails.Vol. 1, City Tours.Vol. 2, Country Tours. Atlanta: Susan Hunter Publishing, 1988. Maps by Twin Studios and XNR Productions Book design by Loraine M. Joyner Cover design by Maureen Withee Composition by Robin Sherman Fourth Edition 10 9 8 7 6 5 4 3 2 1 Manufactured in August 2011 in Harrisonburg, Virgina, by RR Donnelley & Sons in the United States of America Library of Congress Cataloging in Publication Data Davis, Ren, 1951- Atlanta walks : a comprehensive guide to walking, running, and bicycling the area’s scenic and historic locales / written by Ren and Helen Davis. -- 4th ed. p. cm. Includes bibliographical references and index. ISBN 978-1-56145-584-3 (alk. paper) 1. Atlanta (Ga.)--Tours. 2. Atlanta Region (Ga.)--Tours. 3. Walking--Georgia--Atlanta-- Guidebooks. 4. Walking--Georgia--Atlanta Region--Guidebooks. 5. -
The Pennsylvania Academy of the Fine Arts
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS BROAD AND CHERRY STREETS • PHILADELPHIA 160th ANNUAL REPORT 196 5 Cover: Interior With Doorway by Richard Diebenkorn Gilpin Fund Purchase, 1964 The One Hundred and Sixtieth Annual Report of PENNSYLVANIA ACADEMY OF THE FINE ARTS FOR THE YEAR 1965 Presented to the Meeting of the Stockholders of the Academy on February 7, 1966. OFFICERS Frank T. Howard · . President Alfred Zantzinger · Vice President C. Newbold Taylor . Treasurer Joseph T. Fraser, Jr. · . Secretary BOARD OF DIRECTORS Mrs. Leonard T. Beale John W. Merriam Francis Bosworth C. Earle Miller Mrs. Bertram D. Coleman Mrs. Herbert C. Morris (resigned, September) David Gwinn Evan Randolph, Jr. J. Welles Henderson Henry W. Sawyer, 3rd Frank T. Howard (ex officio) John Stewart R. Sturgis Ingersoll James K. Stone Arthur C. Kaufmann C. Newbold Taylor Henry B. Keep Franklin C. Watkins James M. Large William H. S. Wells James P. Magill (Director Emeritus) William Coxe Wright Henry S. McNeil Alfred Zantzinger Ex officio Representing Women's Committee: Mrs. H. Lea Hudson, Chairman (to May) Mrs. Erasmus Kloman, Vice Chairman (to May) Mrs. George Reath, Chairman (from May) Mrs. Erasmus Kloman, Vice Chairman (from May) Mrs. Albert M. Greenfield, Jr., Vice Chairman (from May) Representing City Council: Representing Faculty: Paul D'Ortona John W. McCoy 2nd (to May) Robert W. Crawford Hobson Pittman (from May) Solicitor: William H. S. Wells, Jr. 2 STANDING COMMITTEES COLLECTIONS AND EXHIBITIONS Franklin C. Watkins, Chairman Mrs. Herbert C. Morris Mrs. Leonard T. Beale William H. S. Wells, Jr. James M. Large William Coxe Wright Alfred Zantzinger Representing Women's Committee: Mrs. -
A Finding Aid to the Julian E. Levi Papers, 1846-1981, in the Archives of American Art
A Finding Aid to the Julian E. Levi Papers, 1846-1981, in the Archives of American Art Catherine S. Gaines April, 2005 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Information, circa 1906-1980............................................... 5 Series 2: Correspondence, circa 1846-1981............................................................ 6 Series 3: Artwork, circa 1922-1972........................................................................ 10 Series 4: Writings and Notes, circa 1938-1982....................................................