MORRIS GRAVES Born
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Washington Funding Report: FY 2011 – 2016
Washington Institute of Museum and Library Services Funding Report: FY 2011 - 2016 The Institute of Museum and Library Services (IMLS) helps ensure that all Americans have access to museum, library, and information services. IMLS is an independent grantmaking agency and the primary source of federal support for the nation’s approximately 123,000 libraries and 35,000 museums. The agency supports innovation, lifelong learning, and entrepreneurship, enabling museums and libraries to deliver services that make it possible for communities and individuals to thrive. IMLS Investments IMLS Investments: FY 2011-2016 # Projects Federal % of Non-Federal Total $ or Awards Funding Federal $ Contribution $ Grants to States, Libraries 431 * $19,618,687 59% $12,830,000 * $32,448,687 Competitive Awards to Museums & Libraries 146 $13,378,884 41% $10,161,216 $23,540,100 Total 577 $32,997,571 100% $22,991,216 $55,988,787 * FY 2016 data for the Grants to States, Libraries count of projects and non-federal contribution are not yet available. Figures shown here only include FY 2011-2015. Grants to State Library Administrative Agencies The Library Grants to States Program, supported by the Library Grants to States Awards (LSTA): Services and Technology Act (LSTA), is IMLS's largest program and FY 2011-2016 provides grants to every state using a population-based formula. State Library Administrative Agencies (SLAAs) provide IMLS with a five-year FY 2016 $3.26 M plan and use subawards and statewide projects to improve library services. FY 2015 $3.30 M In FY 2014, IMLS’s $3.28 million grant to the SLAA leveraged FY 2014 $3.28 M approximately $2.27 million in support from the state that year for library services through the SLAA. -
Download NARM Member List
Huntsville, The Huntsville Museum of Art, 256-535-4350 Los Angeles, Chinese American Museum, 213-485-8567 North American Reciprocal Mobile, Alabama Contemporary Art Center Los Angeles, Craft Contemporary, 323-937-4230 Museum (NARM) Mobile, Mobile Museum of Art, 251-208-5200 Los Angeles, GRAMMY Museum, 213-765-6800 Association® Members Montgomery, Montgomery Museum of Fine Arts, 334-240-4333 Los Angeles, Holocaust Museum LA, 323-651-3704 Spring 2021 Northport, Kentuck Museum, 205-758-1257 Los Angeles, Japanese American National Museum*, 213-625-0414 Talladega, Jemison Carnegie Heritage Hall Museum and Arts Center, 256-761-1364 Los Angeles, LA Plaza de Cultura y Artes, 888-488-8083 Alaska Los Angeles, Los Angeles Contemporary Exhibitions, 323-957-1777 This list is updated quarterly in mid-December, mid-March, mid-June and Haines, Sheldon Museum and Cultural Center, 907-766-2366 Los Angeles, Museum of Contemporary Art (MOCA), Los Angeles, 213-621-1794 mid-September even though updates to the roster of NARM member Kodiak, The Kodiak History Museum, 907-486-5920 Los Angeles, Skirball Cultural Center*, 310-440-4500 organizations occur more frequently. For the most current information Palmer, Palmer Museum of History and Art, 907-746-7668 Los Gatos, New Museum Los Gatos (NUMU), 408-354-2646 search the NARM map on our website at narmassociation.org Valdez, Valdez Museum & Historical Archive, 907-835-2764 McClellan, Aerospace Museum of California, 916-564-3437 Arizona Modesto, Great Valley Museum, 209-575-6196 Members from one of the North American -
Volume 26 March • April 2017 Number 2 2 Artaccess.Com © March • April 2017 Here We Are
TM Volume 26 March • April 2017 Number 2 www.ArtAccess.com 2 ArtAccess.com © March • April 2017 Here We Are I’m not unlike many professional artists. My work means piecing together of Way Write a career from teaching, publishing, speaking fees, grants, honorariums, and applying to choreograph in far away places, which satisfies my addiction to traveling, and my love of dancing. Dancers are my mobile community. Wherever I go, here we are. I’m in KeriKeri, New Zealand, first studio on a North Island tour. And it’s not every day that I get to teach Polynesians, so, quickly as possible, I’m going to write this and press SEND. I’m sitting outside a private home, pilfering the wireless. My lodging doesn’t have internet, possibly what I like best about it. Talia walked into the studio slowly, but I didn’t get the feeling it was because she is bigger than most people, only that she comes from a humid place in the middle of the Pacific Ocean and slowly is just how people move due to the heat. “I know nothing about your kind of dancing,” she said, “I worry I make fool of myself.” But as soon as she started moving her hips, it didn’t take long to see how there is nothing slow about her dancing. “Hula is an amazing dance form,” I whispered to the director. “We have a lot of Samoan dancers,” he said. “We had to have our floor reinforced.” I liked Talia right away. When I think more about why, I consider all the people who are moving to Seattle lately with lots of money and, oftentimes, airs to match. -
L I N D a H O D G E S G a L L E
L I N D A H O D G E S G A L L E R Y 316 First Ave S, Seattle, WA 98104 206-624-3034 lindahodgesgallery.com ALFREDO ARREGUIN EDUCATION 1969 MFA, University of Washington, Seattle, WA 1967 BA, University of Washington, Seattle, WA SOLO EXHIBITIONS 2016 Linda Hodges Gallery, Seattle, WA 2015 Sueños y Naturaleza, Museo de Cadiz, Spain 2014 Linda Hodges Gallery, Seattle, WA Museo de America, Madrid, Spain, Disenos y naturaleza en la obra de Alfredo Arreguin, Oct-Dec, 2014 Palacio del Conde Luna, Leon, Spain 2014 Diseños y Cultura, Bakersfield Museum of Art, Bakersfield, CA 2013 Ventanas (Windows), Linda Hodges Gallery, Seattle, WA 2013 Homage to Alfredo Arreguín, organized by the State of Michoacán, Mexico, through the Michoacán State Department of Culture and El Museo de Arte Contemporaneo Alfredo Zalce Gallery One, Ellensburg, WA, “Primavera,” Arreguin’s Solo Exhibition 2012 Handforth Gallery, Tacoma Public Library, Tacoma, WA 2011 Linda Hodges Gallery, Seattle, WA Seattle Art Museum, Seattle, WA, “Seattle as Collector.” Celebrating the Seattle Arts Commission 40th Anniversay. Catalogue 2010 El Esplendor de la Selva, Hallie Ford Museum of Art, Willamette University, Salem, OR Alfredo Arreguin, Art in Ecology, Washington State Department of Ecology, Olympia, WA 2009 Linda Hodges Gallery, Seattle, WA Natural Patterns, Skagit Valley College, Mt. Vernon, WA Universal Patterns, Kokoon Gallery, Cleveland, OH 2008 Canciones de la Terra, Linda Hodges Gallery, Seattle, WA Artists Without Borders, Alfredo Arreguin and Guillermo Gomez-Pena, Museum -
Mark Tobey in 40 Years Explores Artist’S Groundbreaking Contributions to American Modernism
PRESS RELEASE First U.S. Retrospective of Mark Tobey in 40 Years Explores Artist’s Groundbreaking Contributions to American Modernism Organized by the Addison Gallery of American Art, Mark Tobey: Threading Light presents extraordinary breadth, nuance, and radical beauty of artist’s work Andover, Massachusetts (September 27, 2017) – The first comprehensive retrospective of Mark Tobey in the U.S. in 40 years will open at the Addison Gallery of American Art on November 4, 2017. Organized by the Addison Gallery of American Art, Mark Tobey: Threading Light traces the evolution of Tobey’s groundbreaking style and his significant, yet Eventuality, 1944. Tempera on paper mounted on board; 10 x 14 15/16 in. under-recognized, contributions to Addison Gallery of American Art abstraction and mid-century American modernism. Comprised of 67 paintings spanning the 1920s through 1970, Threading Light includes three exceptional works from the Addison’s renowned collection of American art and major loans from the Museum of Modern Art, Whitney Museum of American Art, Smithsonian American Art Museum, Tate Modern, and Centre Pompidou, among numerous other collections. Organized by the Addison and guest curator Debra Bricker Balken, who also authored the accompanying catalogue, Threading Light opened earlier this year at the Peggy Guggenheim Collection in Venice during the 2017 Venice Biennale, and will be on view at the Addison, which is located on the campus of Phillips Academy in Andover, MA, from November 4, 2017, through March 11, 2018. “As an institution dedicated to provoking new discourse and insights into the field of American art, we are delighted to share with our visitors a groundbreaking re-appraisal of one of the foremost American artists to emerge from the 1940s, a decade that saw the rise of Abstract Expressionism,” said Judith F. -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Postwar & Contemporary
PostWar & Contemporary Lot 3401- 3527 Auction: Saturday, 30 June 2018, 2pm Preview: Sat. 16 June, 11.30 am to 7pm Sun. 17 to Sun. 24 June 2018, 10 am to 7pm Silke Stahlschmidt Clarisse Doge Tel. +41 44 445 63 42 Tel. +41 44 445 63 46 [email protected] [email protected] Further editing: Fiona Seidler und Tatjana Schäfer The condition of the works are only partly and in particular cases noted in the catalogue. Please do not hesitate to contact us for a detailed condition report. 3401* AURÉLIE NEMOURS (1910 Paris 2005) Untitled. Ca. 1950. Pastel on paper. Monogrammed on the reverse: N. 22 x 20.5 cm. Provenance: - Galerie Lahumière, Paris. - Purchased from the above by the present owner, since then private collection Southern Germany. CHF 3 000 / 5 000 (€ 2 500 / 4 170) | 3 PostWar & Contemporary 3402 PIERRE LESIEUR (1922 Paris 2011) Autobus à Londres. 1958. Oil on canvas. Signed and dated lower left: Lesieur 58. 85 x 81.5 cm. The authenticity of this work has been confirmed by Mrs. Michelle Lesieur, May 2018, Paris. We thank Michelle and Sarah Lesieur for their kind assistance. Provenance: By descent to the present owner, since then private collection Switzerland. CHF 2 800 / 3 800 (€ 2 330 / 3 170) | 4 3403 FLORE SIGRIST (Strasbourg 1985 - lives and works in France) Jardins 2. 2002. The discovery of the extraordinary artist Flore Sigrist discovered for herself the Acrylic on canvas. Flore Sigrist, with her expressive and vivid laws of colour and materials without an Signed, dated, titled, described and art, occurred when she was just seven academic background. -
Modernism in the Pacific Northwest: the Mythic and the Mystical June 19 — September 7, 2014
Ann P. Wyckoff Teacher Resource Center Educator Resource List Modernism in the Pacific Northwest: The Mythic and the Mystical June 19 — September 7, 2014 BOOKS FOR STUDENTS A Community of Collectors: 75th Anniversary Gifts to the Seattle Art Museum. Chiyo Ishikawa, ed. Seattle: Seattle Adventures in Greater Puget Sound. Dawn Ashbach and Art Museum, 2008. OSZ N 745 S4 I84 Janice Veal. Anacortes, WA: Northwest Island Association, 1991. QH 105 W2 A84 Overview of recent acquisitions to SAM’s collection, including works by Northwest artists. Educational guide and activity book that explores the magic of marine life in the region. George Tsutakawa. Martha Kingsbury. Seattle: University of Washington Press, 1990. N 6537 T74 A4 Ancient Ones: The World of the Old–Growth Douglas Fir. Barbara Bash. San Francisco: Sierra Club Books for Exhibition catalogue covering 60 years of work of the Children, 2002. QK 494.5 P66 B37 Seattle–born painter, sculptor, and fountain maker. Traces the life cycle of the Douglas fir and the old–growth Kenneth Callahan. Thomas Orton and Patricia Grieve forest and their intricate web of life. Watkinson. Seattle : University of Washington Press; 2000. ND 237 C3 O77 Larry Gets Lost in Seattle. John Skewes. Seattle: Sasquatch Books, 2007. F 899 S44 S5 Overview of the life and work of artist Kenneth Callahan. Pete looks for his dog Larry in Seattle’s famous attractions. Margaret Callahan: Mother of Northwest Art. Margaret Bundy Callahan and Brian Tobey Callahan, ed. Victoria, S Is for Salmon: A Pacific Northwest Alphabet. Hannah BC: Trafford Publising, 2009. ND 237 C19 C35 Viano. -
2016 Annual Report
MoNAMuseum of Northwest Art 2016 ANNUAL REPORT Annual Report 2016 D.indd 24 9/25/17 11:07 AM 3 From the President MISSION STATEMENT 4 Board & Staff The Museum of Northwest Art connects people with the art, diverse cultures and environments of the Northwest. 5 Exhibitions Visitor Testimonials VISION STATEMENT 10 The Museum of Northwest Art enriches lives in our diverse community by fostering essential 11 Acquisitions conversations and encouraging creativity through exhibitions and educational activities that explore the art of the Northwest. 12 MoNA Store COLLECTIONS & EXHIBITIONS 13 Education MoNA collects and exhibits contemporary art from across the Northwest, including Alaska, British Columbia, California, Idaho, Montana, Oregon and Washington. 15 Year in Review 17 Supporters 22 Volunteers Annual Report 2016 D.indd 1 9/25/17 11:07 AM 17,283 visits 42,866 website visits 100% visited for free 427 155 members volunteers 1,404 32 students visited with permanent collection 76 school tours acquisitions monamuseum.org 2 Annual Report 2016 D.indd 2 9/25/17 11:07 AM FROM THE PRESIDENT It is my great pleasure to share with you some of the successes achieved in 2016, made possible by your generous support. Because of you, more members of our community have experienced Northwest art in all of its facets through museum visits, program participation, and attendance at MoNA events and celebrations. MoNA’s commitment to providing free museum admission has fostered a broader and more engaged audience, making the museum accessible to more first-time visitors than ever before. MoNA, with your support, continues to fund significant investments in programming and collections. -
Piri Halasz Mark Tobey Review
Art criticism, sometimes with context, occasional politics. Published in hard copy 2-4 times a year. New shows: "events;" hard copy rates & how to support the online edition: "works." TOBEY AT WAHLSTEDT: PROTO-POLLOCK? April 17, 2021 Tags: Mark Tobey Mark Tobey, Sharp Field, 1960. Tempera, 6 1/2 x 9 1/4 inches. Courtesy Anders Wahlstedt Fine Art. If you believe everything you read online, Jackson Pollock owed his celebrated "all-over" style entirely to the "white writing" of Mark Tobey. This anyway is how Tobey's Wikipedia entry tells it, To me, this is like comparing a candle to a bonfire, but that doesn't mean I didn't enjoy "Mark Tobey: Nature's Patterns," eighteen mostly-small but still highly enjoyable works at Anders Wahlstedt Fine Art (through May 12). A candle can be beautiful, too -- and even a candle may ignite a blaze. TOBEY'S PLACE IN ART HISTORY I dealt with Tobey in my 509-page dissertation with the jaw-breaking title of "Directions, Concerns, and Critical Perceptions of Paintings Exhibited in New York, 1940-49: Abraham Rattner and His Contemporaries." The point behind all its longueurs is that in the 1940s, the art scene was evolving away from the hard-edge, extroverted realism exemplified equally by the cornball regionalism of Thomas Hart Benton and the Krafft-Ebing fantasies of Salvador Dalí. I argued that paintings on display in New York with each passing year were evolving in a more romantic, subjective, painterly and above all more abstract direction The dissertation had been inspired originally by Abraham Rattner, a representational expressionist painter whose brushwork was freer than what had gone before. -
Mark Tobey Venice and Andover
2017 NOVEMBER NOVEMBER COV_NOV2017_V1.qxp_cover.june.pp.corr 18/10/2017 12:00 Page 1 2017 THE BURLINGTON MAGAZINE NO. 1376 VOL. CLIX EXHIBITIONS Mark Tobey Venice and Andover by DAVID ANFAM THE PITY IS that an important American art- ist who spent nearly a decade in England has never gained full recognition there. The ex- hibition Mark Tobey: Threading Light at the Addison Gallery of American Art, An- dover (to 11th March 2018), and previously at the Peggy Guggenheim Collection, Venice (closed 10th September), where this review- er saw it, further highlights this shortsighted- ness.1 Among the reasons for Tobey’s wider neglect are, firstly, that his affinities gravitated towards the West coast of the United States and the Far East. Secondly, the Abstract Ex- pressionist heavyweights eclipsed him. Tobey painted small – a fatal gambit during the pe- riod when large prevailed. Lastly, Clement Greenberg traduced the artist by denying his documented influence on Pollock. This exhi- bition provides an excellent chance to reassess Tobey’s stature. Given its majestic site on the Grand Canal, Venice’s sparkling light and the unique atmosphere of its former owner’s palazzo, the Peggy Guggenheim Collection offers a superb setting for almost any art. However, its tem- porary exhibition areas – at the bottom of the garden, as it were – pose one challenge. They are windowless. In Tobey’s case this became 78. World, by Mark Tobey. 1959. Tempera on board, diameter 29.8 cm. (Private collection, New York; an advantage, lending concentration to his exh. Addison Gallery of American Art, Andover). -
Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52
Papers of John L. (Jack) Sweeney and Máire MacNeill Sweeney LA52 Descriptive Catalogue UCD Archives School of History and Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2007 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical history iv Archival history v CONTENT AND STRUCTURE Scope and content v System of arrangement vi CONDITIONS OF ACCESS AND USE Access xiv Language xiv Finding-aid xiv DESCRIPTION CONTROL Archivist’s note xiv ALLIED MATERIALS Allied Collections in UCD Archives xiv Related collections elsewhere xiv iii Biographical History John Lincoln ‘Jack’ Sweeney was a scholar, critic, art collector, and poet. Born in Brooklyn, New York, he attended university at Georgetown and Cambridge, where he studied with I.A. Richards, and Columbia, where he studied law. In 1942 he was appointed curator of Harvard Library’s Poetry Room (established in 1931 and specialising in twentieth century poetry in English); curator of the Farnsworth Room in 1945; and Subject Specialist in English Literature in 1947. Stratis Haviaras writes in The Harvard Librarian that ‘Though five other curators preceded him, Jack Sweeney is considered the Father of the Poetry Room …’. 1 He oversaw the Poetry Room’s move to the Lamont Library, ‘establishing its philosophy and its role within the library system and the University; and he endowed it with an international reputation’.2 He also lectured in General Education and English at Harvard. He was the brother of art critic and museum director, James Johnson Sweeney (Museum of Modern Art, New York; Solomon R.