JAUNE QUICK-TO-SEE SMITH Biography/Bibliography , February, 2007 1
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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 -
Example Case Study: Milwaukee Art Museum
Example Case Study: Milwaukee Art Museum ARCH 631: Structural Systems Prof. Anne Nichols 2004 1 Contents Overview (Introduction) 1 The Milwaukee Art Museum (Background) 1 The Architect (Background) 2 The Quadracci Pavilion (Body) 4 Design Concept 4 Building Layout 4 Structural Features 8 Building Components and System 9 Burke Brise-Soleil 13 Pedestrian Bridge 14 Loading Summary 15 Gravity Loads 16 Lateral Load Resistance 20 Foundation and Soil 22 Summary Bibliography (References) i Overview On May 4, 2001, a much-anticipated addition to the Milwaukee Art Museum first opened its doors to the public. The $125-million-dollar project, designed by architect Santiago Calatrava, became an icon for the museum and the city of Milwaukee, Wisconsin even before its completion. This report presents a case study of the project. Background information regarding the architectural context for the addition will be provided, as well as a synopsis of the architect’s mastery of structural design. A number of unique elements of the building will be discussed in detail. In addition, the building’s complex structural design will be reviewed through component and system evaluation, diagrams, and simplified computer-based structural analysis. The Milwaukee Art Museum The Milwaukee Art Museum (MAM) traces its beginnings to two institutions, the Layton Art Gallery, established in 1888, and the Milwaukee Art Institute, which was established in 1918. In 1957 the groups joined together, forming the private, nonprofit Milwaukee Art Center, now known as the Milwaukee Art Museum. At this time, the Center moved to its present location on the Milwaukee waterfront Finnish architect Eero Saarinen, known for his St. -
Curator of Native American Art DEPARTMENT: Curatorial SUPERVISOR: Chief Curator DIRECT REPORTS: None LAST REVISION DATE: August 2020
POSITION DESCRIPTION POSITION TITLE: Curator of Native American Art DEPARTMENT: Curatorial SUPERVISOR: Chief Curator DIRECT REPORTS: none LAST REVISION DATE: August 2020 The Montclair Art Museum is conducting a search to fill a three-year position of Curator of Native American Art. Funded by the Luce Foundation, the position offers an exciting opportunity for the Curator to work with the Museum’s renowned collection of Native art of North America. Overview The Montclair Art Museum (MAM) is currently accepting applications for a three- year, grant funded position of Curator of Native American Art. The Museum’s goal is to engage in further fundraising to establish this position as permanent. The selected hire will have a unique opportunity to make a meaningful impact on the presentation of MAM’s renowned collection of Native art of North America in its dedicated Rand Gallery and throughout the Museum more broadly. The Curator will work to achieve key goals of engaging current, innovative ideas around the representation of Indigenous communities and art museum collections and exhibitions, via collaborative approaches. Throughout the three- year period, the Curator will have access to an eight member Advisory Board of leading Native and non-Native scholars and artists, as well as MAM’s Chief Curator, all of whom will offer ideas and perspectives for consideration in developing the Museum’s Native American programs. The Curator will oversee the presentation of the Fall 2021 incoming traveling exhibition, Color Riot!, from the Heard Museum, featuring Navajo textiles from c. 1860 to 2018. Additional projects will include curating a site-specific artistic intervention opening in early 2022, and will culminate in September 2023 with a new installation of the Museum’s Native American collections in the Rand Gallery. -
MAM Annual Report July 1, 2010 – June 30, 2011 Contents
2011 MAM ANNUAL REPORT JULy 1, 2010 – June 30, 2011 CONTENTS Mission, Vision and Values, and Diversity Statements 3 From the President 4 From the Director 5 Board of Trustees 7 Statement of Finances 8 MAM at a Glance 9 Exhibitions 11 Snapshots from Special Events 12 Gifts and Purchases 13 Gifts to the Education Handling Collection 17 Contributions Individual Support 18 Corporate, Foundation, and Government Support 21 Matching Gifts 22 Honor and Memorial Gifts 23 Heritage Society 24 Gifts in Kind 24 Volunteers 25 Staff 28 All Museum programs are made possible, in part, by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, and by funds from the National Endowment for the Arts, the Vance Wall Foundation, the Geraldine R. Dodge Foundation, and Museum Members. 2 MISSION STATEMENT The Montclair Art Museum (MAM), along with its Yard School of Art, engages a diverse community through its distinctive collection of American and Native American art, exhibitions, and educational programs that link art to contemporary life in a global context. VISION AND vaLUES STATEMENT As the Montclair Art Museum approaches its Centennial in 2014, we seek to elevate our profile as a nationally recognized leader of mid-sized, regional art museums. Valuing diversity, innovation, and the importance of art to society, we will invigorate our curatorial presentations, expand our educational mission, promote greater connections to our community, engage in fruitful partnerships that reach deep into our region and beyond, embrace new media and technologies, pursue responsible facilities management and environmental impact, and secure our financial stability. -
The Curatorial Intensive Teachers & Advisors Fall 2010
INDEP INDEPENDENT CURATORS INTERNATIONAL THE CURATORIAL INTENSIVE TEACHERS & ADVISORS FALL 2010 ICI Key Personnel: Tracy Candido is the Program Administrator for The Curatorial Intensive at ICI. She is a cultural producer who organizes social practice projects and public programs in New York City and Brooklyn. Recent endeavors include Community Cooking Club, hosted by the Bruce High Quality Foundation University, which combines the concept of the potluck with the environment of the critical classroom, Sweet Tooth of the Tiger, a two-year experiment in baking with, eating, and selling sugar, and the Bake Sale Residency, a mico-granting project for artists. Tracy holds a Master's Degree from New York University in Visual Culture Theory. Kate Fowle is ICI’s Executive Director. She most recently worked as the International Curator at the Ullens Center for Contemporary Art in Beijing. Prior to her time in Beijing, Fowle spent six years in San Francisco at the California College of the Arts, where she was the director of the MA Program in Curatorial Practice, which she founded in 2002 with Ralph Rugoff. This was the first graduate course of its kind on the West coast. During her tenure as program director Fowle built extensive international networks, bringing over 100 artists, curators and writers from places as diverse as Chiang Mai, Paris, São Paulo, Johannesburg, Copenhagen, Beijing, Vilnius, Frankfurt, Tokyo, London, and Mexico City, to share their knowledge and expertise through lectures, round-table discussions, symposia and an annual journal. Chelsea Haines is the Public Programs Manager at ICI. In addition to her position with the organization, she has worked on a range of independent projects and publications, most recently publishing a revised version of her thesis, A New State of the Arts: Developing the Biennial Model as Ethical Arts Practice, for the upcoming fall issue of Museum Management and Curatorship. -
Annual Report 2003 Annual04c 5/23/05 3:55 PM Page 1
Annual04C 5/23/05 4:17 PM Page 1 MILWAUKEE ART MUSEUM Annual Report 2003 Annual04C 5/23/05 3:55 PM Page 1 2004 Annual Report Contents Board of Trustees 2 Board Committees 2 President’s Report 5 Director’s Report 6 Curatorial Report 8 Exhibitions, Traveling Exhibitions 10 Loans 11 Acquisitions 12 Publications 33 Attendance 34 Membership 35 Education and Programs 36 Year in Review 37 Development 44 MAM Donors 45 Support Groups 52 Support Group Officers 56 Staff 60 Financial Report 62 Independent Auditors’ Report 63 This page: Visitors at The Quilts of Gee’s Bend exhibition. Front Cover: Milwaukee Art Museum, Quadracci Pavilion designed by Santiago Calatrava. Back cover: Josiah McElheny, Modernity circa 1952, Mirrored and Reflected Infinitely (detail), 2004. See listing p. 18. www.mam.org 1 Annual04C 5/23/05 3:55 PM Page 2 BOARD OF TRUSTEES COMMITTEES OF Earlier European Arts Committee David Meissner MILWAUKEE ART MUSEUM THE BOARD OF TRUSTEES Jim Quirk Joanne Murphy Chair Dorothy Palay As of August 31, 2004 EXECUTIVE COMMITTEE Barbara Recht Sheldon B. Lubar Martha R. Bolles Vicki Samson Sheldon B. Lubar Chair Vice Chair and Secretary Suzanne Selig President Reva Shovers Christopher S. Abele Barbara B. Buzard Dorothy Stadler Donald W. Baumgartner Donald W. Baumgartner Joanne Charlton Vice President, Past President Eric Vogel Lori Bechthold Margaret S. Chester Hope Melamed Winter Frederic G. Friedman Frederic G. Friedman Stephen Einhorn Jeffrey Winter Assistant Secretary and Richard J. Glaisner George A. Evans, Jr. Terry A. Hueneke Eckhart Grohmann Legal Counsel EDUCATION COMMITTEE Mary Ann LaBahn Frederick F. -
On Fellow Ous Ulletin
on fellow ous L g ulletinH e Volume No. A Newsletter of the Friends of the Longfellow House and the National Park Service June New Study ExaminesThe Song of HiawathaB as Controversial Bestseller atthew Gartner’s recent work on noted in his journal: “Some of the MH.W. Longfellow’s most popular newspapers are fierce and furious about poem asserts that The Song of Hiawatha was Hiawatha,” and a few weeks later, he both a bestseller and a subject of contro- wrote, “There is the greatest pother versy as soon as it was published, and about Hiawatha. It is violently assailed, quickly became a cultural phenomenon. and warmly defended.” The historian Gartner, who is writing a book called The William Prescott, a friend of Longfel- Poet Longfellow: A Cultural Interpretation, will low’s, wrote the poet from New York of present his findings and analysis this July “the hubbub that Hiawatha has kicked up at the Society for the History of Author- in the literary community.” ship, Reading, and Publishing. At the heart of the controversy lay When Hiawatha was first published in Longfellow’s decision to use a poetic it sold rapidly. With an initial print- meter called “trochaic dimeter.” The ing of five thousand volumes, four thou- George H. Thomas illustration, The Song of Hiawatha, London, nineteenth century was an age of great sand were already sold as of its November nationwide by , making it not only sensitivity to the art of prosody, or poetic publication date. By mid-December Longfellow’s best-selling poem ever, but, meter, and Longfellow surely knew Hiawa- eleven thousand volumes were in print. -
Gabriele Münter Photographer of America 1898-1900
GABRIELE MÜNTER PHOTOGRAPHER OF AMERICA 1898-1900 by Lionel Gossman (Department of French and Italian, Princeton University, emeritus) 1 A Limited Reputation in the U.S. One of the founding members in 1911 of the much admired avant-garde artists’ group known as “Der Blaue Reiter” [The Blue Rider], Gabriele Münter (1877-1962) is much less well known in the U.S. or Great Britain than in her native Germany, where her work has been shown in private galleries since 1909 and well over 50 exhibitions have been devoted to it in major public galleries, the latest being scheduled to open at the Lenbachhaus in Munich on October 31, 2017 and to run for five months. The first showing of Münter’s work in the U.S., in contrast, did not take place until 1955, at the private Curt Valentin gallery in New York. Four other shows in private galleries in New York and Los Angeles followed in the 1960s.1 It was 1980 before the first exhibition of Münter’s paintings and drawings in a public gallery -- curated by the art historian Anne Mochon -- opened at Harvard University’s Busch- Reisinger Museum. This exhibition was also seen at the Princeton University Art Museum the following year. In the late 1990s a retrospective exhibition at the Milwaukee Art Museum -- this one curated by Reinhold Heller-- traveled to Columbus, Ohio, Richmond, Virginia, and the McNay Museum in San Antonio, Texas (1997-98), and in 2005 Shulamith Behr and Annegret Hoberg curated an exhibition at the Courtauld Institute in London, about which the critic of the Independent on Sunday newspaper wrote: “This small jewel- like exhibition is in its quiet, unobtrusive way one of the best shows in London.”2 The impact of these relatively rare displays of Münter’s art seems to have been not very considerable. -
Annual Report Fiscal Year 2010 July 1, 2009–June 30, 2010
Annual Report Fiscal Year 2010 July 1, 2009–June 30, 2010 For the 2009–2010 fiscal year, Tacoma Art Museum presented a series of exhibitions focusing on its mission of “emphasizing the art and artists of the Northwest” alongside nationally and internationally acclaimed artists across all media. The summer of 2009 began with the dynamic pairing of jewelry exhibitions, Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection, the only West Coast venue of the major exhibi- tion organized by the Museum of Fine Arts, Houston, and Loud Bones: The Jewelry of Nancy Worden, which was curated by Ta- coma Art Museum. The autumn exhibitions included A Concise History of Northwest Art, featuring highlights of the museum’s Northwest art collection and exploring the development of the region’s art from the 1890s to the present. Joe Feddersen: Vital Signs, organized by Hallie Ford Museum of Art at Willamette University, presented a retrospective look at Native American art- ist Joe Feddersen, a nationally acclaimed printmaker, basket maker, and glass artist. One of the museum’s most treasured col- lections was featured in The Movement of Impressionism: Europe, America, and the Northwest, a survey of how a painting style spread from late 19th-century Paris to the Northwest. The museum’s works by Edgar Degas, Camille Pissarro, and Pierre-Au- guste Renoir along with works by Everett Shinn, Maurice Prendergast, and others were supplemented by important loans of Northwest impressionists. The winter season featured The Secret Language of Animals, a two-gallery exhibition exploring the changing ways artists used animals as symbols for human relationships across three centuries of American and European art. -
Milwaukee Art Museum
MILWAUKEE ART MUSEUM Rising dramatically from the banks of Lake Michigan, the Milwaukee Art Museum’s Quadracci Pavilion has become a defining image for the city. Completed in May 2001 as part of a museum expansion and renovation, the structure features the Burke Brise Soleil, an enormous wing-like sunscreen that is extended to a wingspan of 217 feet when the museum opens, and then retracts to cover the 90-foot high, glass-walled reception hall at the close of each day. This unique “moving sculpture” was the first building design constructed in the United States by the acclaimed Spanish architect Santiago Calatrava, and was named “Best Design of 2001” by Time Magazine. The complex’s pedestrian bridge, along with the sunscreen’s pedestal and intricate metal components, required a coating system that could maintain the aesthetic appeal required for such a high- profile structure and still stand up to the punishing Wisconsin winters and humid lake-shore environment. Kahler Slater, the project’s architectural firm, specified a Tnemec coating system utilizing Series 90-97 Tneme-Zinc, a zinc-rich polyurethane primer that offers exceptional corrosion resistance to steel substrates, followed by an intermediate coat of Series 27 F.C. Typoxy, a polyamide epoxy. For topcoats, the architects chose Tnemec’s proven Series 73 Endura- Shield, an aliphatic polyurethane, in a bright white, topcoated with Series 76 Endura-Clear, an aliphatic polyurethane clearcoat. PROJECT INFORMATION Designed to provide extended gloss retention and protect the color Project Location of the underlying pigmented coat, Series 76 Endura-Clear is infused Milwaukee, Wisconsin with special additives that absorb and dissipate ultra-violet light before it can damage the chemical bonds within the coating, thus Project Completion Date extending the life-cycle of the entire coating system and enhancing May 2001 its appearance. -
FROELICK GALLERY Joe Feddersen Born 1953 Omak, WA
FROELICK GALLERY Joe Feddersen Born 1953 Omak, WA Tribal Affiliation The Confederated Tribes of The Colville Reservation (Okanagan and Lakes) Education 1989 Master of Fine Arts, University of Wisconsin, Madison, WA 1983 BFA Printmaking, University of Washington, Seattle, WA 1979 A.A. Applied Arts, Wenatchee Valley College, Wenatchee, WA Solo Exhibitions 2021 Inhabited Landscapes, Froelick Gallery, Portland, OR 2020 Two Generations: Joe Feddersen and Wendy Red Star, Schneider Museum of Art, Southern Oregon University, Ashland, OR 2019 Echo, Froelick Gallery, Portland, OR Echo, Pacific Northwest College of Art, Portland, OR 2018 Cultural Abstractions, curated by Todd Clark, Umpqua Valley Arts Association, Roseburg, OR Joe Feddersen, Graves Gallery, Wenatchee Valley College, Wenatchee, WA 2017 Flotilla, Froelick Gallery, Portland, OR 2015 Canoe Journeys, Froelick Gallery, Portland, OR 2014 Matrix, Spokane Falls Community College, Spokane ,WA 2013 Charmed, Froelick Gallery, Portland, OR 2012 Role Call, Froelick Gallery, Portland, OR Terrain, Larson Gallery, Yakima Valley Community College, Yakima, WA (catalogue) Transitions, MAC Gallery, Wenatchee Valley College, Wenatchee, WA 2010 Codex, Froelick Gallery, Portland, OR Codex, Evergreen Gallery, TESC, Olympia WA, (catalogue) Vital Signs, Hallie Ford Museum, Willamette University, Salem, OR 2009 Vital Signs, Tacoma Art Museum, Tacoma, WA, organized by Hallie Ford Museum of Art Codex, Evergreen Gallery, Evergreen State College, Olympia, WA 2008 Vital Signs, Missoula Art Museum, Missoula, MT, -
PROSPECTUS Entry Guidelines & Form Artwork Entry Date: Saturday, May 12Th, 2018
Wenatchee Valley Museum & Cultural Center Presents North Central Washington Juried Art Show June 1st, 2018 to September 8th, 2018 ARTIST PROSPECTUS Entry Guidelines & Form Artwork Entry Date: Saturday, May 12th, 2018 The 3rd NCW Juried Art Show presented by the Wenatchee Valley Museum & Cultural Center and the Wenatchee Arts, Recreation and Parks Commission showcases quality work by regional artists in a museum gallery. The art show opens during the First Friday Artwalk of June on Friday, June 1st from 5 – 8 p.m. This year’s event highlights area artists of both two-dimensional and three-dimensional original works of art that will be on display and for sale. The reception will take place at Wenatchee Valley Museum & Cultural Center, 127 South Mission Street, Wenatchee. The opening reception is free and open to the public. The Juried Fine Art Exhibit will be open to the public regularly beginning Friday June 1st from 10 a.m. – 8 p.m. and continue on display through the first Friday of September. A closing reception with announcement of the People's Choice Award winner (at 6 p.m.) will take place that evening, Friday, September 7th during the Artwalk from 5 – 8 p.m. Admission is free and open to the public. Art will be returned to the artists no earlier than 10 a.m. on Saturday, September 8th at the Wenatchee Valley Museum, 127 S Mission Street, Wenatchee. Artists or their designated representative must be available to pick up their artwork between 10 a.m. and 2 p.m. on September 8th to be eligible to enter the show.