DOCSLIB.ORG

ANNUAL REPORT Mission

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ANNUAL REPORT Mission art + history + architecture ANNUAL REPORT Mission JEPSON CENTER TELFAIR ACADEMY OWENS-THOMAS HOUSE & SLAVE QUARTERS Telfair Museums offers compelling expressions of visual culture—embracing three unique buildings and three distinct collections that bridge three centuries of art and architecture. The museum develops awareness, understanding, and appreciation of the arts and serves as a dynamic cultural center connecting people of all ages and backgrounds. 2 message Dear Friends, Telfair Museums’ 135th year brought so many challenges—from a three-month pandemic closure that dared us to rethink the way museums operate to the loss of friends and colleagues. We are grateful for your support, patronage, and loyalty through a difficult year when the path ahead wasn’t always clear. We saw more than a few heroic efforts—most notably from our longtime friend Bob Faircloth, who stepped in as acting director for most of 2020 and led our team with courage, creativity, humility, and a good sense of humor. Our board of directors lent their wealth and breadth of expertise to every challenge we tackled. The museum’s senior leadership team, especially our CFO/COO Joey Rudder, oversaw the museum’s day-to-day operations. Kendall McCurry, our 2020 Telfair Ball chair, raised nearly $1 million for our programs with her team. Our incredible staff kept us going despite unprecedented obstacles at work and at home. We thank you—not only for empowering us to reopen safely and successfully, but for buoying the spirits of our community, for inspiring the generosity of so many, and for positioning Telfair Museums for the next 135 years, and many more, of passionately providing “art for all.” Benjamin T. Simons Executive Director/CEO Dale C. Critz, Jr. Board Chairman 3 2020 by the numbers PEOPLE EDUCATION & OUTREACH Total visitors: 103,762* 3,164 pre-K through college students participated in Jepson Center: 36,120 in-person field trips and virtual tours Owens-Thomas House: 37,742 19 in-person and virtual lectures attended by Telfair Academy: 31,900 1,600 people *Partial and complete museum closures due to COVID-19 20 studio classes, 9 camps, and 3 workshops with 163 participants EXHIBITIONS 5 Morrison Community Gallery exhibitions 21 exhibitions Drop-In Studio activities attended by 500 people (pre-pandemic) COLLECTIONS 2 Free Family Days attended by 5,266 people; 6,390 works in the collection 3 Free Family Weekends attended by 1,029 people offered at the Jepson Center 99 new works added 1,763 people of all ages and abilities participated in outreach via classes (pre-pandemic) and art-making kits WEB & SOCIAL MEDIA 2,245 at-home art-making kits distributed 503,644 Telfair.org page views (35% decrease) 34,475 Unique Visitors per month (51% increase) AWARDS AND ACCOLADES 10,589 Facebook Likes (6% Increase) Southeastern Museums Conference 5,968 Twitter Followers (15% Increase) Exhibition Competition 7,500 Instagram Followers (7% Increase) Bronze Award for Suzanne Jackson: Five Decades Southeastern Museums Conference Publication Competition Gold Award for Telfair Ball Invitation Gold Award for Collecting Impressionism Funds Drive Mailer 4 OPERATING Net income from Operations: $13,000 OperatingOperating Revenue: Revenue: $4,825,000 $4,825,000 Operating Revenue: $4,825,000 InvestmentInvestment Draw Draw Investment ContributedContributed Draw Income Income Contributed 32% Income 32% 48%48% 32% 48% 19%19% EarnedEarned Income Income 19% Earned Income OperatingOperating EXPENSES: EXPENSES: $4,812,000 $4,812,000 Operating EXPENSES: $4,812,000 General General & & AdministrativeAdministrative General & Administrative15%15% Fund Fund 15% MuseumMuseum DevelopmentDevelopment ActivitiesActivities Fund13%13% Museum Development 13% 72%72% Activities 72% 5 statement of activities audited Telfair Museum of Art, Inc. Statements of Activities Year ended December 31, 2020 Net Assets without Donor Restrictions Net Assets with Donor Restrictions Undesignated Undesignated Total Designated Purpose Perpetual Operating Non-Operating Undesignated by Board Restricted in Nature Total Revenue Admission charges $ 820,201 $ - $ 820,201 $ - $ - $ - $ 820,201 Contributions 807,518 827,435 1,634,953 - 3,220,974 1,000 4,856,927 Governmental support and grants 586,000 - 586,000 - 68,514 - 654,514 Membership dues 159,989 - 159,989 - - - 159,989 Museum store sales, net 73,123 - 73,123 - - - 73,123 Special events, net 400,961 - 400,961 - - - 400,961 Rental and other revenue 36,275 - 36,275 - - - 36,275 Investment (loss) income, net - (2,233) (2,233) 2,060,575 1,277,120 - 3,335,462 Net assets released from restriction and change in designation Investment income draw 1,566,949 - 1,566,949 (862,718) (704,231) - - Other 374,032 223,718 597,750 (222,826) (374,924) - - 4,825,048 1,048,920 5,873,968 975,031 3,487,453 1,000 10,337,452 Expenses Personnel costs 2,659,219 - 2,659,219 - - - 2,659,219 Administration 505,679 - 505,679 - - - 505,679 Curatorial 215,174 - 215,174 - - - 215,174 Education 46,452 - 46,452 - - - 46,452 Marketing and development 143,373 - 143,373 - - - 143,373 Maintenance and security 632,388 - 632,388 - - - 632,388 Insurance 161,783 - 161,783 - - - 161,783 Utilities 298,846 - 298,846 - - - 298,846 Collection items purchased and not capitalized 83,935 - 83,935 - - - 83,935 Interest 65,540 - 65,540 - - - 65,540 Depreciation - 987,575 987,575 - - - 987,575 4,812,389 987,575 5,799,964 - - - 5,799,964 Change in net assets $ 12,659 $ 61,345 74,004 975,031 3,487,453 1,000 4,537,488 Net assets, beginning of year 19,043,042 12,504,661 9,429,468 14,160,444 55,137,615 Net assets, end of year $ 19,117,046 $ 13,479,692 $ 12,916,921 $ 14,161,444 $ 59,675,103 See accompanying notes to financial statements. 5 statement of activities audited (cont'd)Telfair Museum of Art, Inc. Statements of Activities (cont.) Year ended December 31, 2019 Net Assets without Donor Restrictions Net Assets with Donor Restrictions Undesignated Total Designated Purpose Perpetual Undesignated Operating Non-Operating Undesignated by Board Restricted in Nature Total Revenue Admission charges $ 2,199,339 $ - $ 2,199,339 $ - $ - $ - $ 2,199,339 Contributions 1,025,798 2,016,957 3,042,755 - 1,712,828 1,000 4,756,583 Governmental support and grants 212,500 - 212,500 - - - 212,500 Membership dues 221,628 - 221,628 - - - 221,628 Museum store sales, net 190,293 - 190,293 - - - 190,293 Special events, net 702,068 - 702,068 - - - 702,068 Rental and other revenue 263,026 - 263,026 - - - 263,026 Investment (loss) income, net - (701) (701) 3,228,609 2,211,182 - 5,439,090 Net assets released from restriction and change in designation Investment income draw 1,555,432 - 1,555,432 (873,720) (681,712) - - Other 262,121 242,333 504,454 (281,574) (222,880) - - 6,632,205 2,258,589 8,890,794 2,073,315 3,019,418 1,000 13,984,527 Expenses Personnel costs 3,032,529 - 3,032,529 - - - 3,032,529 Administration 542,341 - 542,341 - - - 542,341 Curatorial 423,764 - 423,764 - - - 423,764 Education 122,566 - 122,566 - - - 122,566 Marketing and development 288,802 - 288,802 - - - 288,802 Maintenance and security 903,633 - 903,633 - - - 903,633 Insurance 159,337 - 159,337 - - - 159,337 Utilities 302,165 - 302,165 - - - 302,165 Collection items purchased and not capitalized 48,063 - 48,063 - - - 48,063 Interest 146,340 - 146,340 - - - 146,340 Depreciation - 963,231 963,231 - - - 963,231 5,969,540 963,231 6,932,771 - - - 6,932,771 Change in net assets $ 662,665 $ 1,295,358 1,958,023 2,073,315 3,019,418 1,000 7,051,756 Net assets, beginning of year 17,085,019 10,431,346 6,410,050 14,159,444 48,085,859 Net assets, end of year $ 19,043,042 $ 12,504,661 $ 9,429,468 $ 14,160,444 $ 55,137,615 See accompanying notes to financial statements. 6 Telfair Museum of Art, Inc. statement of financial positionsStatements of Financial audited Position December 31, 2020 2019 ASSETS Cash and cash equivalents $ 2,072,991 $ 1,302,092 Investments, at fair value 32,142,295 30,915,047 Charitable foundation beneficial interest 4,553,035 2,685,778 36,695,330 33,600,825 Accounts receivable 211,355 298,712 Promises to give, net 1,123,423 931,165 Inventory 79,478 83,704 Other assets 307,553 278,830 Property, net 22,621,926 23,130,547 Collections (Note 1) - - $ 63,112,056 $ 59,625,875 LIABILITIES AND NET ASSETS Liabilities Accounts payable and accrued expenses $ 519,163 $ 514,102 Deferred revenue 346,883 249,836 Bonds payable, net (Note 5) 2,570,907 3,724,322 3,436,953 4,488,260 Net assets Without donor restrictions Undesignated 19,117,046 19,043,042 Designated by Board 13,479,692 12,504,661 32,596,738 31,547,703 With donor restrictions Purpose restricted 12,916,921 9,429,468 Perpetual in nature 14,161,444 14,160,444 27,078,365 23,589,912 59,675,103 55,137,615 $ 63,112,056 $ 59,625,875 See accompanying notes to financial statements. 4 8 exhibitions Jepson Center All exhibitions organized by Telfair Museums unless otherwise noted. PULSE Tech Space: Second Nature #art912, Late Afternoon January 23–December 31 near the Academy Ongoing PULSE Community Gallery January 23–February 24 Complex Uncertainties: Artists in Postwar America (Rotation 8) February 15–October 18 PULSE Machines of Futility January 23–July 19 Collecting Impressionism: Telfair’s Modern Vision Launching Savannah’s March 6, 2020–January 31, 2021 Art Scene: Founders of the Savannah Art Club February 7–August 30 #art912, Breakout!, Amiri Farris, Boxed In/Break Out June 5, 2020-July 6, 2021 The Prints of Erik Desmazières February 15–June 21 Spirit of Independence July 1–December 1 9 exhibitions Jepson Center (cont'd) Cut and Paste: Works of Paper Complex Uncertainties: August 1, 2020–January 10, 2021 Artists in Postwar America (Rotation 9) Organized by the Georgia Museum of Art, October 24, 2020–May 2, 2021 University of Georgia and Lyndon House Arts Center.
Load more

Recommended publications
  • Transantiquity
    TransAntiquity TransAntiquity explores transgender practices, in particular cross-dressing, and their literary and figurative representations in antiquity. It offers a ground-breaking study of cross-dressing, both the social practice and its conceptualization, and its interaction with normative prescriptions on gender and sexuality in the ancient Mediterranean world. Special attention is paid to the reactions of the societies of the time, the impact transgender practices had on individuals’ symbolic and social capital, as well as the reactions of institutionalized power and the juridical systems. The variety of subjects and approaches demonstrates just how complex and widespread “transgender dynamics” were in antiquity. Domitilla Campanile (PhD 1992) is Associate Professor of Roman History at the University of Pisa, Italy. Filippo Carlà-Uhink is Lecturer in Classics and Ancient History at the University of Exeter, UK. After studying in Turin and Udine, he worked as a lecturer at the University of Heidelberg, Germany, and as Assistant Professor for Cultural History of Antiquity at the University of Mainz, Germany. Margherita Facella is Associate Professor of Greek History at the University of Pisa, Italy. She was Visiting Associate Professor at Northwestern University, USA, and a Research Fellow of the Alexander von Humboldt Foundation at the University of Münster, Germany. Routledge monographs in classical studies Menander in Contexts Athens Transformed, 404–262 BC Edited by Alan H. Sommerstein From popular sovereignty to the dominion
    [Show full text]
  • Clifford Ando Department of Classics 1115 East 58Th Street
    Clifford Ando Department of Classics 1115 East 58th Street Chicago, IL 60637 Phone: 773.834.6708 [email protected] September 2020 CURRENT POSITION • David B. and Clara E. Stern Distinguished Service Professor; Professor of Classics, History and in the College, University of Chicago • Chair, Department of Classics, University of Chicago (2017–2020, 2021-2024) EDITORIAL ACTIVITY • Series editor, Empire and After. University of Pennsylvania Press • Senior Editor, Bryn Mawr Classical Review • Editor, Know: A Journal on the Formation of Knowledge • Editorial Board, Classical Philology • Editorial Board, The History and Theory of International Law, Oxford University Press • Editorial Board, Critical Analysis of Law • Editorial Board, L'Homme. Revue française d'anthropologie • Correspondant à l'étranger, Revue de l'histoire des religions EDUCATION • Ph.D., Classical Studies. University of Michigan, 1996 • B.A., Classics, summa cum laude. Princeton University, 1990 PRIZES, AWARDS AND NAMED LECTURES • Edmund G. Berry Lecture, University of Manitoba, 2018 • Sackler Lecturer, Mortimer and Raymond Sackler Institute of Advanced Studies, Tel Aviv University, 2017/2018 • Humanities Center Distinguished Visiting Scholar, University of Tennessee, 2017 • Elizabeth Battelle Clarke Legal History Colloquium, Boston University School of Law, 2017 • Maestro Lectures 2015, Academia Sinica, Taipei, Taiwan • Harry Carroll Lecture, Pomona College, March 2015 • Lucy Shoe Merritt Scholar in Residence, American Academy in Rome, 2014-2015 • Friedrich Wilhelm
    [Show full text]
  • Classical Mythology in the Victorian Popular Theatre Edith Hall
    Pre-print of Hall, E. in International Journal of the Classical Tradition, (1998). Classical Mythology in the Victorian Popular Theatre Edith Hall Introduction: Classics and Class Several important books published over the last few decades have illuminated the diversity of ways in which educated nineteenth-century Britons used ancient Greece and Rome in their art, architecture, philosophy, political theory, poetry, and fiction. The picture has been augmented by Christopher Stray’s study of the history of classical education in Britain, in which he systematically demonstrates that however diverse the elite’s responses to the Greeks and Romans during this period, knowledge of the classical languages served to create and maintain class divisions and effectively to exclude women and working-class men from access to the professions and the upper levels of the civil service. This opens up the question of the extent to which people with little or no education in the classical languages knew about the cultures of ancient Greece and Rome. One of the most important aspects of the burlesques of Greek drama to which the argument turned towards the end of the previous chapter is their evidential value in terms of the access to classical culture available in the mid-nineteenth century to working- and lower- middle-class people, of both sexes, who had little or no formal training in Latin or Greek. For the burlesque theatre offered an exciting medium through which Londoners—and the large proportion of the audiences at London theatres who travelled in from the provinces—could appreciate classical material. Burlesque was a distinctive theatrical genre which provided entertaining semi-musical travesties of well-known texts and stories, from Greek tragedy and Ovid to Shakespeare and the Arabian Nights, between approximately the 1830s and the 1870s.
    [Show full text]
  • New Latin Grammar
    NEW LATIN GRAMMAR BY CHARLES E. BENNETT Goldwin Smith Professor of Latin in Cornell University Quicquid praecipies, esto brevis, ut cito dicta Percipiant animi dociles teneantque fideles: Omne supervacuum pleno de pectore manat. —HORACE, Ars Poetica. COPYRIGHT, 1895; 1908; 1918 BY CHARLES E. BENNETT PREFACE. The present work is a revision of that published in 1908. No radical alterations have been introduced, although a number of minor changes will be noted. I have added an Introduction on the origin and development of the Latin language, which it is hoped will prove interesting and instructive to the more ambitious pupil. At the end of the book will be found an Index to the Sources of the Illustrative Examples cited in the Syntax. C.E.B. ITHACA, NEW YORK, May 4, 1918 PREFACE TO THE SECOND EDITION. The present book is a revision of my Latin Grammar originally published in 1895. Wherever greater accuracy or precision of statement seemed possible, I have endeavored to secure this. The rules for syllable division have been changed and made to conform to the prevailing practice of the Romans themselves. In the Perfect Subjunctive Active, the endings -īs, -īmus, -ītis are now marked long. The theory of vowel length before the suffixes -gnus, -gna, -gnum, and also before j, has been discarded. In the Syntax I have recognized a special category of Ablative of Association, and have abandoned the original doctrine as to the force of tenses in the Prohibitive. Apart from the foregoing, only minor and unessential modifications have been introduced. In its main lines the work remains unchanged.
    [Show full text]
  • The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
    The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.
    [Show full text]
  • Troy Myth and Reality
    Part 1 Large print exhibition text Troy myth and reality Please do not remove from the exhibition This two-part guide provides all the exhibition text in large print. There are further resources available for blind and partially sighted people: Audio described tours for blind and partially sighted visitors, led by the exhibition curator and a trained audio describer will explore highlight objects from the exhibition. Tours are accompanied by a handling session. Booking is essential (£7.50 members and access companions go free) please contact: Email: [email protected] Telephone: 020 7323 8971 Thursday 12 December 2019 14.00–17.00 and Saturday 11 January 2020 14.00–17.00 1 There is also an object handling desk at the exhibition entrance that is open daily from 11.00 to 16.00. For any queries about access at the British Museum please email [email protected] 2 Sponsor’sThe Trojan statement War For more than a century BP has been providing energy to advance human progress. Today we are delighted to help you learn more about the city of Troy through extraordinary artefacts and works of art, inspired by the stories of the Trojan War. Explore the myth, archaeology and legacy of this legendary city. BP believes that access to arts and culture helps to build a more inspired and creative society. That’s why, through 23 years of partnership with the British Museum, we’ve helped nearly five million people gain a deeper understanding of world cultures with BP exhibitions, displays and performances. Our support for the arts forms part of our wider contribution to UK society and we hope you enjoy this exhibition.
    [Show full text]
  • The Invisibility of Juvenal James Uden Submitted in Partial Fulfillment of Th
    The Invisibility of Juvenal James Uden Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 2011 James Uden All rights reserved. ABSTRACT The Invisibility of Juvenal James Uden This dissertation offers a reading of Juvenal’s Satires. It maintains that Juvenal consciously frustrates readers’ attempts to identify his poetic voice with a single unitary character or persona. At the same time, it argues that Juvenal’s poems are influenced in both form and theme by cultural trends in the early second century. The arguments staged in these poems constitute a critique of aspects of Roman intellectual culture in the reigns of Trajan and Hadrian. Contents Preface 1. Provoking the Charge: Epic Poet and Reticent Informer in Satire One The Recitation Hall (Part One) The Paradox of Contemporary Epic The Satirist as Delator The Crisis of Criticism Satiric Voices in Tacitus’ Dialogus de Oratoribus The Recitation Hall (Part Two) 2. The Invisibility of Juvenal ‘Atopic Topology’: The Thirteenth Oration of Dio Chrysostom Juvenal’s Second Satire: Strategies for Speech and Disguise Secrecy and Violence in Satire Nine 3. Satire Four: Playing the Panegyrist The Art of Exaggeration The Emperor over Nature Natural Reversal and Fish Savagery The Perils of Panegyrical Speech i 4. Cynic Philosophy and Ethical Education in Satires Ten and Fourteen Debasing the Coinage The Laugh of Democritus and the Cynic Ideal Satire Fourteen: The Domestication of Ethical Teaching 5. Satire Twelve: Repetition and Sacrifice in Hadrianic Rome Horatian Ritual and the “New Augustus” Substitution and Sacrifice: Animals and Humans in Satire Twelve The Gods and their Captatores Reading across Books: Atheism and Superstition in Satire Thirteen Appendix: Martial 12.18 and the Dating of Juvenal’s First Book ii ACKNOWLEDGMENTS Thanks must go first to Gareth Williams, friend and mentor for the past half-decade.
    [Show full text]
  • Danaus Βουγενής: Greco-Egyptian Mythology and Ptolemaic Kingship Alexandros Kampakoglou
    Danaus βουγενής: Greco-Egyptian Mythology and Ptolemaic Kingship Alexandros Kampakoglou HE THIRD BOOK of Callimachus’s Aetia opens with an elegy that celebrates the chariot victory of Queen Berenice II in the Nemean games (frr.54–60j).1 Accord- T 2 ing to the introductory couplet, the Victoria Berenices is offered by Callimachus to Zeus and Nemea as a gift on behalf of his patron, Berenice II: Ζηνί τε κα⸤ὶ Νεµέηι τι χαρίσιον ἕδνον ὀφείλω⸥, νύµφα, κα[σιγνή]τ̣ων ἱερὸν αἷµα θεῶν, ἡµ[ε]τ̣ερο.[......].εων ἐπινίκιον ἵππω̣[ν]. To Zeus and Nemea I owe a gift of gratitude, nymph, sacred blood of the sibling gods, our victory song […] of horses. Zeus and Nemea appear as the receivers of Callimachus’ gift because of their connection with the Nemean games: the myth of the Victoria Berenices narrates the killing of the Nemean lion but memorializes the creation by Heracles of the wreath that Nemean victors received as a prize. The mythic part of the poem concludes with a sacrifice to Zeus performed jointly by Heracles and Molorcus (fr.60c.8–10). The frame mirrors, in this regard, the actions of the myth: Heracles offers a sacrifice to his divine father with the assistance of his host, Molorcus; Berenice consecrates the elegy to Zeus, the divine progenitor of 1 I cite the edition of A. Harder, Callimachus. Aetia I–II (Oxford 2012); translations are my own. 2 This is the title given to the first elegy of Book 3 by P. J. Parsons, “Cal- limachus: Victoria Berenices,” ZPE 25 (1977) 1–51.
    [Show full text]
  • Victoria E. Pagán
    Victoria E. Pagán, PhD [email protected] Department of Classics 2811 NW 23rd Terrace University of Florida Gainesville, FL 32605 PO Box 117435 Gainesville, FL 32605 352.273.3696 352.284.9854 EMPLOYMENT 2010- Professor, Department of Classics, University of Florida Affiliate of the Center for Gender, Sexualities, and Women’s Studies Research 2010-15 Chair, Department of Classics, University of Florida 2005-10 Associate Professor, Department of Classics, University of Florida 2005 Associate Professor, Department of Classics, University of Wisconsin-Madison 1998-2005 Assistant Professor, Department of Classics, University of Wisconsin-Madison 1997-98 Assistant Professor, Department of Classics, University of Florida Education 1997 Ph.D. University of Chicago Classical Languages & Literatures 1990 M.A. University of Michigan Classical Studies 1988 B.A. Kent State University Latin, magna cum laude POST-DOCTORAL GRANTS AND HONORS National 2004 American Association of University Women Research Grant, $6000 2002-03 Woodrow Wilson National Foundation Career Enhancement Fellowship, $30,000 1998-99 Ford Foundation Post-Doctoral Fellowship for Minorities, $25,000 University of Florida 2017-20 Term Professor 2014-16 Research Foundation Professor 2013 Center for the Humanities and Public Sphere Conference Grant, $5000 2012 Faculty Enhancement Opportunity Grant, $17,000 2010 College of Liberal Arts and Sciences Teaching Award 2010 Office of Sustainability, Sustainable Solutions Award 2008-09 Waldo W. Neikirk Term Professor in the College of Liberal Arts and Sciences, $5000 2006, 2009 CLAS Humanities Enhancement Grants, summers 2013, 2016 Victoria E. Pagán 2 PUBLICATIONS Books 2017. Tacitus. London and New York: I.B. Tauris Press. Hard copy and paperback. Review: Katie Low, Bryn Mawr Classical Review 2017.11.31.
    [Show full text]
  • Clifford Ando Department of Classics 1115 East 58Th Street Chicago, IL
    Clifford Ando Department of Classics 1115 East 58th Street Chicago, IL 60637 Phone: 773.834.6708 [email protected] April 2021 CURRENT POSITION • David B. and Clara E. Stern Distinguished Service Professor; Professor of Classics, History and in the College, University of Chicago • Chair, Department of Classics, University of Chicago (2017–2020, 2021-2024) EDITORIAL ACTIVITY • Series editor, Empire and After. University of Pennsylvania Press • Senior Editor, Bryn Mawr Classical Review • Editor, Know: A Journal on the Formation of Knowledge • Editorial Board, Classical Philology • Editorial Board, The History and Theory of International Law, Oxford University Press • Editorial Board, Critical Analysis of Law • Editorial Board, L'Homme. Revue française d'anthropologie • Correspondant à l'étranger, Revue de l'histoire des religions EDUCATION • Ph.D., Classical Studies. University of Michigan, 1996 • B.A., Classics, summa cum laude. Princeton University, 1990 PRIZES, AWARDS AND NAMED LECTURES • Edmund G. Berry Lecture, University of Manitoba, 2018 • Sackler Lecturer, Mortimer and Raymond Sackler Institute of Advanced Studies, Tel Aviv University, 2017/2018 • Humanities Center Distinguished Visiting Scholar, University of Tennessee, 2017 • Elizabeth Battelle Clarke Legal History Colloquium, Boston University School of Law, 2017 • Maestro Lectures 2015, Academia Sinica, Taipei, Taiwan • Harry Carroll Lecture, Pomona College, March 2015 • Lucy Shoe Merritt Scholar in Residence, American Academy in Rome, 2014-2015 • Friedrich Wilhelm Bessel
    [Show full text]
  • 2019 Awards To
    AIRLIFT / TANKER QUARTERLY Volume Number FALL 2019 27 04 THE AIRLIFT / TANKER ASSOCIATION Pages 12-15 Air Transportation Career Field “Port Dawgs” and the Air Transportation Legacy Team 2019 HALL OF FAME INDUCTEE 2019 A/TA Pages 26-54 AWARDS A SALUTE Pages 56-65 TO OUR INDUSTRY PARTNERS UsingUsingUsingUsing the thethe the latest latestlatest latest AirliftAirlift Support Support AirliftAirlift Support Support technologytechnologytechnologytechnology to toto to provide provideprovide provide thethethethe greatest greatestgreatest greatest good. good.good. good. PhotoPhoto courtesy courtesy of of U.S. U.S. Air Air Force Force PhotoPhoto courtesy courtesy of U.S.of U.S. Air Air Force Force YouYou can’t can’t be be a a force force for for peace peace if if your your equipment equipment isn’t isn’t ready. ready. That’s That’s why why we we YouYou can’t can’t be be a force a force for for peace peace if yourif your equipment equipment isn’t isn’t ready. ready. That’s That’s why why we we partnerpartner with with you you to to offer offer the the performance-based performance-based logistics, logistics, technology technology upgrades, upgrades, partnerpartner with with you you to tooffer offer the the performance-based performance-based logistics, logistics, technology technology upgrades, upgrades, andand reliability reliability improvement improvement programs programs that that will will renew renew aircraft aircraft and and help help deliver deliver andand reliability reliability improvement improvement programs programs that that will will renew renew aircraft aircraft and and help help deliver deliver salvationsalvation as as cost cost effectively effectively as as cargo.
    [Show full text]
  • JUST ONE LOOK an Exhibition of Contemporary Book Arts Exploring the Theme of Women and Vision
    JUST ONE LOOK An Exhibition of Contemporary Book Arts Exploring the theme of Women and Vision University of Washington Libraries Special Collections Seattle, Washington March 31 - July 29, 2016 Wendy Huntington Sarah Kate Moore Lauren Dudley Dr. Sarah Kathryn Moore as the goddess Athena TABLE OF CONTENTS Curator’s Introduction: “The First Look: How It All Began” 4 LAUREN DUDLEY Curator’s Introduction: “Inspiration, Vision & the Artists’ Book” 5 SANDRA KROUPA Classics Introduction: “More Than One Look” 6 CATHERINE CONNORS Sibyls of the Classical World 8 LAURA DAVIDSON The Goddess Book 10 MAR GOMAN REFLEXIONS 12 HARRIET BART A woman’s work 14 EMMA SCHULTE Vertices: Love in a Maze 16 HELEN HIEBERT Daedalion 18 LAUREN DUDLEY Apparitions Among Us 20 LOU CABEEN Bold Heart, Magnificent Beast 22 LAURA RUSSELL Bitter Chocolate 24 JULIE CHEN Cupid And Psyche 26 MARI ECKSTEIN GOWER Algêdones Ophthalmôn: Painful to the Eyes 28 ALEXANDER HOLLMANN Girdled 30 JESSICA SPRING object n. object v. 32 DIANE JACOBS Seeing the unsighted: Synecdoche 34 ROBBIN AMI SILVERBERG Mermaid: An Epic Salish Merwoman Story 36 CHARLES HOBSON Sola: A Mythical Story About A Real Girl 38 CATHERINE ALICE MICHAELIS The Dragon King’s Daughter 40 HANNAH BRUCKBAUER My Soul Wants to Fly 42 BEANNE HULL Riddle to Reason 44 KATHRYN LEONARD Scheherazade. Woman of Persia 46 SUZANNE MOORE Mirror Mirror (or, The Tainted Tain) 48 ROBBIN AMI SILVERBERG Medea 50 ELSI VASSDAL ELLIS getting what you want turns everything around 52 MARE BLOCKER Age Before Beauty 54 CHANDLER O’LEARY & JESSICA
    [Show full text]