IPHF 2020 Inductees Announcement Release FINAL
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Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF JOURNALISM STORIES FROM THE FRONT LINES: FEMALE FOREIGN CORRESPONDENTS IN WAR ZONES JENNIFER CONNOR SUMMER 2011 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Journalism with honors in Journalism. Reviewed and approved* by the following: Tony Barbieri Foster Professor of Writing and Editing Thesis Supervisor Martin Halstuk Associate Professor Honors Adviser * Signatures are on file in the Schreyer Honors College. ABSTRACT The purpose of this thesis is to examine the experience of women who cover war and conflict zones, with a special focus on those reporting in Iraq and Afghanistan. When western female war correspondents work in male-dominated cultures and situations of war, they encounter different challenges and advantages than male war correspondents. The level of danger associated with the assignments these women take on is evaluated in this thesis. Anecdotes from female war correspondents themselves, combined with outside analysis, reveal the types of situations unique to female war correspondents. More women choose to follow the story and witness history in the making by covering today‟s war and conflict zones. This trend parallels the greater presence of women in newsrooms, today. This thesis will shed light on what it means to be a female reporting on and working in dangerous conditions. i TABLE OF CONTENTS Part 1. Introduction……………………………………………………………………………....1 Part 2. Dealing with Danger……………………………………………………………………...6 -
It's What I Do Lynsey Addario
Datasheet of the exhibition It’s What I Do Lynsey Addario Associazione Culturale ONTHEMOVE DATASHEET OF EXHIBITION | Lynsey Addario - It’s What I Do 1 It’s What I Do Curater by Lynsey Addario Arianna Rinaldo Produced by Prints Associazione Culturale ONTHEMOVE Bottega Antonio Manta on the occasion of Cortona On The Move SP Systema International Photography Festival 2016 Frames Studio Rufus Associazione Culturale ONTHEMOVE | Località Vallone, 39/A/4 - Cortona, 52044 (AR) DATASHEET OF EXHIBITION | Lynsey Addario - It’s What I Do 2 It’s What I Do When I began contemplating the idea of showing Lynsey’s work in Cortona, I had never met her personally. Nonetheless she felt like someone close. Someone I could very easily be friends with and have a glass of wine talking about the last movie we saw. I had seen a few videos and interviews online featuring her relentless spirit, her uplifting attitude and restless photojournalistic mission. When I read her book, “It’s What I Do”, I felt even more interested in her work and her persona. She was a champion of focus, commitment and bravery paired with positive attitude and a very human heart. We also had some things in common. She is a freelance working mom, like me, more or less my age. We share friends on Facebook, and often read and “like” the same articles on photography and news. However, Lynsey, for me, is a heroine. She travels the world non-stop to be a witness to social injustice, war and humanitarian tragedies and many other neglected issues, giving voice to people and light to places, that are left in the shadow when the media frenzy fades. -
Limited Editions Club
g g OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow, making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. Today, Oak Knoll Books is a thriving company that maintains an inventory of about 25,000 titles. Our main specialties continue to be books about bibliography, book collecting, book design, book illustration, book selling, bookbinding, bookplates, children’s books, Delaware books, fine press books, forgery, graphic arts, libraries, literary criticism, marbling, papermaking, printing history, publishing, typography & type specimens, and writing & calligraphy — plus books about the history of all of these fields. Oak Knoll Books is a member of the International League of Antiquarian Booksellers (ILAB — about 2,000 dealers in 22 countries) and the Antiquarian Booksellers Association of America (ABAA — over 450 dealers in the US). Their logos appear on all of our antiquarian catalogues and web pages. These logos mean that we guarantee accurate descriptions and customer satisfaction. Our founder, Bob Fleck, has long been a proponent of the ethical principles embodied by ILAB & the ABAA. He has taken a leadership role in both organizations and is a past president of both the ABAA and ILAB. We are located in the historic colonial town of New Castle (founded 1651), next to the Delaware River and have an open shop for visitors. -
Annual Report Fy2013
INTERSECTIONS ANNUAL REPORT FY2013 FROM THE CHAIR OF THE BOARD OF TRUSTEES This year has been a time of robust innovation at The Phillips Collection; we are truly living the “experiment station” that founder Duncan Phillips spoke about so eloquently. The Phillips’s many advances in technology, for example, include a new website that provides users with easy access to our art, videos, and events. This effort has been complemented by a robust presence on multimedia and social media platforms, an insightful blog, and the Education team’s innovative virtual gallery talks on Twitter. The Laib Wax Room, dedicated to our own Caroline Macomber (whose delightful presence on our Board we deeply miss), opened in March as a space for meditation, much like the Rothko Room. The Phil- lips’s commitment to engaging with living artists of our day mirrors the collecting vision of Gifford Phillips, a dear friend of the museum who passed away in April. Partial funds for the beeswax room were raised through the crowdsourcing platform Indiegogo, allowing dozens of supporters to be part of Phillips history. Innovations at the Phillips are not just expressed through new technology. From April 12 to May 2, Phillips educator Rachel Goldberg led workshops in Pakistan for more than 375 Pakistani emerging artists, students, museum professionals, and children about the power of art to create social change. This extremely successful partnership with the US Department of State affirms the universal connective power of art; discus- sions are underway to expand the program. Extending the Phillips’s mission abroad to create an internation- al dialogue through art is a new partnership with Georgetown University’s School of Foreign Service. -
By Miriam Aronin [Intentionally Left Blank] JANUARY 12, 2010
JANUARY 12, 2010 by Miriam Aronin [Intentionally Left Blank] JANUARY 12, 2010 by Miriam Aronin Consultant: Robert Maguire Associate Professor of International Affairs and Director of the Haiti Program Trinity Washington University, Washington, D.C. Credits Cover and Title Page, © Mark Pearson/Alamy; TOC, © Winnipeg Free Press, Thursday, January 14, 2010/ Newspaper Archive; 4, © AP Images/Ramon Espinosa; 5, © Damon Winter/The New York Times/Redux; 6, © James Breeden/Pacific Coast News/Newscom; 7, © Rick Loomis/Los Angeles Times/MCT/Newscom; 8, © Patrick Farrell/Miami Herald/MCT/Newscom; 9, © AP Images/Rodrigo Abd; 10, © Jean-Paul Pelissier/ Reuters/Landov; 11, © Marco Dormino/UN/Minustah/Reuters/Landov; 12, © Lynsey Addario/New York Times/VII Photo Agency LLC; 13T, © U.S. Navy/Mass Communication Specialist 2nd Class Justin Stumberg; 13B, © U.S. Navy/Mass Communication Specialist 2nd Class Daniel Barker; 14, © AP Images/ Bebeto Matthews; 15, © Matthew Bigg/Reuters/Landov; 16L, © Pedro Portal/El Nuevo Herald/MCT/ Newscom; 16R, © Olivier Laban-Mattei/AFP/Newscom; 17, © AP Images/Ramon Espinosa; 18, © Talia Frenkel/American Red Cross; 19, © AP Images/Mark Davis/Hope for Haiti Now; 20, © AP Images/J. Pat Carter; 21, © AP Images/Ariana Cubillos; 22T, © Lui Kit Wong/The News Tribune; 22B, Courtesy of Pamela Bridge; 23T, Courtesy of the British Red Cross; 23B, Special thanks to Ashley Johnson, The Empowerment Academy #262, Baltimore Maryland; 24, © U.S. Navy/Logistics Specialist 1st Class Kelly Chastain; 25, © Pasqual Gorriz/United Nations Photos/AFP/Newscom; 26T, © Hans Deryk/Reuters/Landov; 26BL, © Hazel Trice Edney/NPPA; 26BR, © Lexey Swall/Naples Daily News; 27, © Michael Laughlin/Sun Sentinel/MCT/ Newscom; 28T, © AP Images/Ramon Espinosa; 28B, © AP Images/J. -
A Finding Aid to the Peter Blume Papers, 1870-2001, in the Archives of American Art
A Finding Aid to the Peter Blume Papers, 1870-2001, in the Archives of American Art Jayna M. Josefson Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art 2014 January 08 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 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1950-1992..................................................... 5 Series 2: Correspondence, 1926-1992.................................................................... 6 Series 3: Writings and Notes, 1929-1986............................................................. -
FY 15 ANNUAL REPORT August 1, 2014- July 31, 2015
FY 15 ANNUAL REPORT August 1, 2014- July 31, 2015 1 THE PHILLIPS COLLECTION FY15 Annual Report THE PHILLIPS [IS] A MULTIDIMENSIONAL INSTITUTION THAT CRAVES COLOR, CONNECTEDNESS, A PIONEERING SPIRIT, AND PERSONAL EXPERIENCES 2 THE PHILLIPS COLLECTION FY15 Annual Report FROM THE CHAIRMAN AND DIRECTOR This is an incredibly exciting time to be involved with The Phillips Collection. Duncan Phillips had a deep understanding of the “joy-giving, life-enhancing influence” of art, and this connection between art and well-being has always been a driving force. Over the past year, we have continued to push boundaries and forge new paths with that sentiment in mind, from our art acquisitions to our engaging educational programming. Our colorful new visual identity—launched in fall 2014—grew out of the idea of the Phillips as a multidimensional institution, a museum that craves color, connectedness, a pioneering spirit, and personal experiences. Our programming continues to deepen personal conversations with works of art. Art and Wellness: Creative Aging, our collaboration with Iona Senior Services has continued to help participants engage personal memories through conversations and the creating of art. Similarly, our award-winning Contemplation Audio Tour encourages visitors to harness the restorative power of art by deepening their relationship with the art on view. With Duncan Phillips’s philosophies leading the way, we have significantly expanded the collection. The promised gift of 18 American sculptors’ drawings from Trustee Linda Lichtenberg Kaplan, along with the gift of 46 major works by contemporary German and Danish artists from Michael Werner, add significantly to new possibilities that further Phillips’s vision of vital “creative conversations” in our intimate galleries. -
Heritage Vol.1 No.2 Newsletter of the American Jewish Historical Society Fall/Winter 2003
HERITAGE VOL.1 NO.2 NEWSLETTER OF THE AMERICAN JEWISH HISTORICAL SOCIETY FALL/WINTER 2003 “As Seen By…” Great Jewish- American Photographers TIME LIFE PICTURES © ALL RIGHTS RESERVED INC. Baseball’s First Jewish Superstar Archival Treasure Trove Yiddish Theater in America American Jewish Historical Society 2002 -2003 Gift Roster This list reflects donations through April 2003. We extend our thanks to the many hundreds of other wonderful donors whose names do not appear here. Over $200,000 Genevieve & Justin L. Wyner $100,000 + Ann E. & Kenneth J. Bialkin Marion & George Blumenthal Ruth & Sidney Lapidus Barbara & Ira A. Lipman $25,000 + Citigroup Foundation Mr. David S. Gottesman Yvonne S. & Leslie M. Pollack Dianne B. and David J. Stern The Horace W. Goldsmith Linda & Michael Jesselson Nancy F. & David P. Solomon Mr. and Mrs. Sanford I. Weill Foundation Sandra C. & Kenneth D. Malamed Diane & Joseph S. Steinberg $10,000 + Mr. S. Daniel Abraham Edith & Henry J. Everett Mr. Jean-Marie Messier Muriel K. and David R Pokross Mr. Donald L. SaundersDr. and Elsie & M. Bernard Aidinoff Stephen and Myrna Greenberg Mr. Thomas Moran Mrs. Nancy T. Polevoy Mrs. Herbert Schilder Mr. Ted Benard-Cutler Mrs. Erica Jesselson Ruth G. & Edgar J. Nathan, III Mr. Joel Press Francesca & Bruce Slovin Mr. Len Blavatnik Renee & Daniel R. Kaplan National Basketball Association Mr. and Mrs. James Ratner Mr. Stanley Snider Mr. Edgar Bronfman Mr. and Mrs. Norman B. Leventhal National Hockey League Foundation Patrick and Chris Riley aMrs. Louise B. Stern Mr. Stanley Cohen Mr. Leonard Litwin Mr. George Noble Ambassador and Mrs. Felix Rohatyn Mr. -
OPC, Coalition Sign Pact to Boost Freelancer Safety
THE MONTHLY NEWSLETTER OF THE OVERSEAS PRESS CLUB OF AMERICA, NEW YORK, NY • February 2015 OPC, Coalition Sign Pact to Boost Freelancer Safety By Emma Daly and the freelancers who Diane Foley, mother of the late are assuming an ever- freelance reporter James Foley, was greater burden in cover- guest of honor at a panel discussion ing dangerous stories, to launch “A Call for Global Safety the panelists see these Principles and Practices,” the first principles as a first step industry code of conduct to include toward greater responsi- media companies and freelancers bility and accountability in an attempt to reduce the risks to by both reporters on the those covering hazardous stories. ground and their editors. The guidelines were presented to an “I am deeply proud Rhon G. Flatts audience of journalists and students of the OPC and the OPC David Rohde of Reuters, left, and Marcus Mabry during two panel discussions held at Foundation’s part in this speak to students and media about a the Columbia University School of long overdue effort,” new industry code of conduct. Journalism’s Stabile Student Center Mabry said. Shehda Abu Afash in Gaza. on Feb. 12 and introduced by Dean Sennott flagged the horrific mur- By the launch on Thursday al- Steve Coll. der of Jim Foley as a crucial moment most 30 news and journalism orga- The first panel – David Rohde in focusing all our minds on the need nizations had signed on to the prin- of Reuters, OPC President Marcus to improve safety standards, despite ciples, including the OPC and OPC Mabry, Vaughan Smith of the Front- efforts over the past couple of de- Foundation, AFP, the AP, the BBC, line Freelance Register, John Dan- cades to introduce hostile environ- Global Post Guardian News and Me- iszewiski from the AP and Charlie ment and medical training, as well dia, PBS FRONTLINE and Thom- Sennott of the Ground Truth Project as protective equipment and more af- son Reuters. -
«It's a Calling»
Ringier Management Conference: Finding inspiration in first-rate speakers DMO The Energy cosmos Programmed In-house journal for success June 2015 American war photographer Lynsey Addario talks about her life and her job «It’s a calling» CONTENTS 4 «I’m grateful I’m still alive» American photographer Lynsey June edition Addario captures images of war, terror and hunger. While pregnant, she of DOMO as photographed children in Somalia; she was abducted, and she won a Pulitzer e-magazine Prize. Her faith in journalism is the stuff that movies are made of. Says star 4 12 director Steven Spielberg. 12 Inspiration in the mountains «Do something!» was the appeal at the Ringier Management Conference in Davos. The focus was on entrepreneur- ialism, change and global digitalization. 16 Focus on Ringier The best press photos of the last quarter from around the world. 18 Cool music and snappy patter Twelve years ago, Energy began broadcasting in Switzerland. Today the Energy cosmos encompasses radio stations in Zurich, Bern and Basel, a TV channel, Apps and top-notch events: a success story. 24 Inhouse Ringier Romandy leads the way: an online portal, a daily, a weekly and a women’s magazine are united in one newsroom. A brilliant balancing act! 26 Ringier meets the stars The man from the moon visits Switzerland, and DOMO author René Haenig rises to the occasion. The 4 upshot: Apollo-11 astronaut Buzz Aldrin is like «Star Trek» - only better. 28 Michael Ringier When power trumps fair competition, the bottom line is: The same rules apply to – almost – everyone. -
Educator Resource Guide Table of Contents
© JOEL SARTORE EDUCATOR RESOURCE GUIDE TABLE OF CONTENTS THE ANNENBERG SPACE FOR PHOTOGRAPHY 03 HISTORy • EXHIBITs • DeSIGN 04 FeATURES WITHIN THE SPACE THE CURRENT EXHIBIT: THE POWER OF PHOTOGRAPHY: NATIONAL geOGRAPHIC 125 YEARS 05 Age ReCOMMENDATION • OVERVIEW 06 BIOGRAPHIES OF THE FeATURED ARTISTS EDUCATOR ReSOURCE GUIDE 08 PRE-VISIT ACTIVITIES 14 EXHIBITION ACTIVITY 16 POST-VISIT REFLECTIVE QUESTIONS © 2009 JULIUS SHULMAN & JUERGEN NOGAI 18 ADDITIONAL RESOURCES FROM ANNENBERG LEARNER 23 PHOTO CREDITS 02 THE ANNENBERG SPACE FOR PHOTOGRAPHY HISTORY • EXHIBITS • DESIGN HISTORY The Annenberg Space for Photography opened to the public on March 27, 2009. It is the first solely photographic cultural destination in the Los Angeles area. The Photography Space is an initiative of the Annenberg Foundation and its board of directors. Its creation builds upon the Foundation’s long history of supporting visual arts. EXHIBITS The Annenberg Space for Photography does not maintain a permanent collection of photographs; instead, exhibitions change every four to six months. The content of each show varies and appeals to a wide variety of audiences. DESIGN The interior of the Space is influenced by the mechanics of a camera and its lens. The central, circular Digital Gallery is contained within the square building much as a convex lens is contained within a camera. The Digital Gallery’s ceiling features an iris-like design reminiscent of the aperture of a lens. The aperture design also enhances the Gallery’s acoustics. The Print Gallery curves around the Digital Gallery, representing the way film scrolls within a camera. The curvature of the ceiling line in the Print Gallery mimics the design of a film canister.