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Graduationl Speakers
Graduationl speakers ~~~~~~~~*L-- --- I - I -· P 8-·1111~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ stress public service By Andrew L. Fish san P. Thomas, MIT's Lutheran MIT President Paul E. Gray chaplain, who delivered the inlvo- '54 told graduating students that cation. "Grant that we may use their education is "more than a the privilege of this MIT educa- meal ticket" and should be used tion and degree wisely - not as to serve "the public interest and an entitlement to power or re- the common good." His remarks gard, but as a means to serve," were made at MIT's 122nd com- Thomas said. "May the technol- mencement on May 27. A total ogy that we use and develop be of 1733 students received 1899 humane, and the world we create degrees at the ceremony, which with it one in which people can was held in Killian Court under live more fully human lives rather sunny skies, than less, a world where clean air The importance of public ser- and water, adequate food and vice was also emphasized by Su- shelter, and freedom from fear and want are commonplace rath- Prof. IVMurman er than exceptional." named to Proj. Text of CGray's commencement address. Page 2. Athena post In his commencement address, By Irene Kuo baseball's National League Presi- Professor Earll Murman of the dent A. Bartlett Giamatti urged Department of Aeronautics and graduates to "have the courage to Astronautics was recently named connect" with people of all ideo- the new director of Project Athe- logies. Equality will come only ~~~~~~~~~~~~~~~~~,,4. na by Gerald L. -
Mapplethorpe: Assault with a Deadly Camera
How To Quote This Material ©Jack Fritscher www.JackFritscher.com Mapplethorpe: Assault with a Deadly Camera — Take 2: Pentimento for Robert Mapplethorpe Manuscript TAKE 2 © JackFritscher.com PENTIMENTO FOR ROBERT MAPPLETHORPE FETISHES, FACES, AND FLOWERS Of EVIL1 “He wanted to see the devil in us all... The man who liberated S&M Leather into international glamor... The man Jesse Helms hates... The man whose epic movie-biography only Ken Russell could re-create...” Photographer Mapplethorpe: The Whitney, the NEA and censorship, Schwarzenegger, Richard Gere, Susan Sarandon, Paloma Picasso, Hockney, Warhol, Patti Smith, Scavullo, sex, drugs, rock ’n’ roll, S&M, flowers, black leather, fists, Allen Ginsberg, and, once-upon-a-time, me... The pre-AIDS past of the 1970s has become a strange country. We lived life differently a dozen years ago. The High Time was in full upswing. Liberation was in the air, and so were we, performing nightly our high-wire sex acts in a circus without nets. If we fell, we fell with splendor in the grass. That carnival, ended now, has no more memory than the remembrance we give it, and we give remembrance here. In 1977, Robert Mapplethorpe arrived unexpectedly in my life. I was editor of the San Francisco—based international leather magazine, Drummer, and Robert was a New York shock-and-fetish photographer on the way up. Drummer wanted good photos. Robert, already infamous for his leather S&M portraits, always seeking new models with outrageous trips, wanted more specific exposure within the leather community. Our mutual, professional want ignited almost instantly into mutual, personal passion. -
C100 Trip to Houston
Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room. -
Campusmap06.Pdf
A B C D E F MIT Campus Map Welcome to MIT #HARLES3TREET All MIT buildings are designated .% by numbers. Under this numbering "ROAD 1 )NSTITUTE 1 system, a single room number "ENT3TREET serves to completely identify any &ULKERSON3TREET location on the campus. In a 2OGERS3TREET typical room number, such as 7-121, .% 5NIVERSITY (ARVARD3QUARE#ENTRAL3QUARE the figure(s) preceding the hyphen 0ARK . gives the building number, the first .% -)4&EDERAL number following the hyphen, the (OTEL -)4 #REDIT5NION floor, and the last two numbers, 3TATE3TREET "INNEY3TREET .7 43 the room. 6ILLAGE3T -)4 -USEUM 7INDSOR3TREET .% 4HE#HARLES . 3TARK$RAPER 2ANDOM . 43 3IDNEY 0ACIFIC 3IDNEY3TREET (ALL ,ABORATORY )NC Please refer to the building index on 0ACIFIC3TREET .7 .% 'RADUATE2ESIDENCE 3IDNEY 43 0ACIFIC3TREET ,ANDSDOWNE 3TREET 0ORTLAND3TREET 43 the reverse side of this map, 3TREET 7INDSOR .% ,ANDSDOWNE -ASS!VE 3TREET,OT .7 3TREET .% 4ECHNOLOGY if the room number is unknown. 3QUARE "ROADWAY ,ANDSDOWNE3TREET . 43 2 -AIN3TREET 2 3MART3TREET ,ANDSDOWNE #ROSS3TREET ,ANDSDOWNE 43 An interactive map of MIT 3TREETGARAGE 3TREET 43 .% 2ESIDENCE)NN -C'OVERN)NSTITUTEFOR BY-ARRIOTT can be found at 0ACIFIC "RAIN2ESEARCH 3TREET,OT %DGERTON (OUSE 'ALILEO7AY http://whereis.mit.edu/. .7 !LBANY3TREET 0LASMA .7 .7 7HITEHEAD !LBANY3TREET )NSTITUTE 0ACIFIC3TREET,OT 3CIENCE .7 .! .!NNEX,OT "RAINAND#OGNITIVE AND&USION 0ARKING'ARAGE Parking -ASS 3CIENCES#OMPLEX 0ARSONS .% !VE,OT . !LBANY3TREET #ENTER ,ABORATORY "ROAD)NSTITUTE 'RADUATE2ESIDENCE .UCLEAR2EACTOR ,OT #YCLOTRON ¬ = -
Arnold) Glimcher, 2010 Jan
Oral history interview with Arne (Arnold) Glimcher, 2010 Jan. 6-25 Funding for this interview was provided by the Widgeon Point Charitable Foundation. 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 recorded interview with Arne Glimcher on 2010 January 6- 25. The interview took place at PaceWildenstein in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by the Widgeon Point Charitable Foundation. Arne Glimcher has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JAMES McELHINNEY: This is James McElhinney speaking with Arne Glimcher on Wednesday, January the sixth, at Pace Wildenstein Gallery on— ARNOLD GLIMCHER: 32 East 57th Street. MR. McELHINNEY: 32 East 57th Street in New York City. Hello. MR. GLIMCHER: Hi. MR. McELHINNEY: One of the questions I like to open with is to ask what is your recollection of the first time you were in the presence of a work of art? MR. GLIMCHER: Can't recall it because I grew up with some art on the walls. So my mother had some things, some etchings, Picasso and Chagall. So I don't know. -
October 30 – December 30, 2021
ST 71 OCTOBER 30 – DECEMBER 30, 2021 EXHIBITION 71st A•ONE – A•ONE is a national competition/exhibition highlighting the diversity of work that is currently being made by established and emerging artists. Eligibility – Open to all artists, 18 years of age and older, residing in the United States. Original artwork in any media will be considered. Giclée reproductions of original works will not be accepted. Eligible artwork must have been completed after January 1, 2019, and fall within the restrictions. Awards – Grand Prize, awards an artist a solo exhibition at Silvermine Arts Center with a $1,000 stipend for show related expenses. The Juror has additional awards to give at their discretion. Entry Fee – $50 for up to 5 entries. To be considered for the Grand Prize Award, artists are required to enter a minimum of three works. Online entry – Complete the 71st A•ONE entry form on Slideroom – https://silvermineart.slideroom.com JUROR Richard Klein is a curator, artist, and writer. Since 1999 he has been Exhibitions Director of The Aldrich Contemporary Art Museum in Ridgefield, Connecticut. In his two decade long career as a curator of contemporary art he has organized over 80 exhibitions, including solo shows of the work of Janine Antoni, Sol LeWitt, Mark Dion, Roy Lichtenstein, Hank Willis Thomas, Brad Kahlhamer, Kim Jones, Jack Whitten, Jessica Stockholder, Tom Sachs, and Elana Herzog. Major curatorial projects at The Aldrich have included Fred Wilson: Black Like Me (2006), No Reservations: Native American History and Culture in Contemporary Art (2006), Elizabeth Peyton: Portrait of an Artist (2008), Shimon Attie: MetroPAL.IS. -
Jan Feb Mar Apr 2021 from the Director
FROM THE DIRECTOR JAN FEB MAR APR 2021 FROM THE DIRECTOR Submit your story I am sure you would agree, let us put 2020 behind us and anticipate a better year in 2021. With this expectation in mind, your Art Center teams are moving ahead with major plans for the new year. Our exhibitions We continue to include The Path to Paradise: Judith Schaechter’s accept personal Stained-Glass Art; Justin Favela: Central American; stories in response and Louis Fratino: Tenderness revealed along with to Black Stories. Iowa Artists 2021: Olivia Valentine. An array of print gallery and permanent collections projects, including Enjoy this story an exhibition that showcases our newly conserved submission from painting by Francisco Goya, Don Manuel Garcia de Candace Williams. la Prada, 1811, and another that features our works by Claes Oldenburg, will augment and complement Seen. I felt seen as I walked these projects. The exhibitions will continue to through the Black Stories address our goals of being an inclusive and exhibition with my friend. welcoming institution, while adding to the scholarship As history and experiences of the field, engaging our local communities in were shared through art, meaningful ways, and providing a site for the I remembered my mom community to gather together, at least virtually taking my sister and I to (for now), to share ideas and perspectives. the California African- Our Black Stories project has done just this American Museum often. as we continue to receive personal stories from She would buy children’s the community for possible inclusion in a books written by Black publication. -
Cardi Gallery Louise Nevelson
CARDI GALLERY Louise Nevelson, Untitled, 1964, Painted wood, 241 x 216 x 49.5 cm (94 7/8 x 85 1/8 x 19 1/2 in) LOUISE NEVELSON 55-70 October 7-December 20, 2014 Corso di Porta Nuova 38, Milan Cardi Gallery is pleased to present Louise Nevelson: 55-70, an exhibition of over thirty important collages and sculptures created between 1955 and 1970 that reveal the formalist achievements of Louise Nevelson (1899-1988), an icon of the Feminist art movement and one of the most significant American sculptors of the 20th century. Louise Nevelson: 55-70, is on view October 9 – December 20, 2014. Louise Nevelson: 55-70 features works created between 1955 and 1970, a period when the artist’s signature modernist style emerged, with labyrinthine wooden assemblages and monochrome surfaces, and evolved, as Nevelson incorporated industrial materials such as Plexiglas, aluminum and steel in the 1960s and 1970s. The exhibition at Cardi Gallery presents more than twenty-five collages and ten sculptures from private collections around the world, including large-scale monochrome reliefs, freestanding large-scale sculptures, and mixed media collages on paper and board, incorporating newsprint, paint, vinyl, metal, and other found objects. “I go to the sculpture, and my eye tells me what is right for me,” explained Nevelson. “When I compose, I don’t have anything but the material, myself, and an assistant. I compose right there while the assistant hammers. Sometimes it’s the material that takes over; sometimes it’s me that takes over. I permit them to play, like a seesaw. -
The Museum of Modern Art
The Museum of Modern Art For Immediate Release May 1995 ARTIST'S CHOICE: ELIZABETH MURRAY June 20 - August 22, 1995 An exhibition conceived and installed by American artist Elizabeth Murray is the fifth in The Museum of Modern Art's series of ARTIST'S CHOICE exhibitions. On view from June 20 to August 22, 1995, ARTIST'S CHOICE: ELIZABETH MURRAY presents more than 100 drawings, paintings, prints, and sculptures by approximately seventy women artists. The exhibition involves works created between 1914 and 1973, including those ranging from early modernists Frida Kahlo and Liubov Popova to contemporary artists Nancy Graves and Dorothea Rockburne. Murray focuses particular attention on artists who made their reputations during the 1950s and 1960s, such as Lee Bontecou, Agnes Martin, Joan Mitchell, when Murray herself was studying and forming her style. This exhibition and the accompanying video and panel discussion are made possible by a generous grant from The Charles A. Dana Foundation. Organized in collaboration with Kirk Varnedoe, Chief Curator, Department of Painting and Sculpture, the ARTIST'S CHOICE series invites artists to create an exhibition from the Museum's collection according to a personally chosen theme or principle. "I wanted, for myself, to explore what being a woman in the art world has meant," Murray writes in the exhibition brochure. "I wanted to weave together a sense of the genuine and profound contribution women's work has made to the art of our time." - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Fax: 212-708-9889 2 Installed in the Museum's third-floor contemporary painting and sculpture galleries, the exhibition is arranged in thematic groupings. -
Self-Guided Walking Tour of the MIT Campus
Self-Guided Walking Tour of the MIT Campus P AInformation Center MIT Museum → B Stratton Student Center → N52 C Kresge Auditorium ➔ DMIT Chapel → E Hart Nautical Galleries TECHNOLOGY Building 5 ➔ SQUARE M F Bldg. 3/Design and A Manufacturing Display S S A C GKillian Court H U HHayden Memorial S E Library Building T T S I McDermott Court A V E JTech Coop N M ➔ A U IN KAn Athena Computer E ➔→ S ➔→→ TR Cluster →→ E →→→ ET → ➔→ O L Edgerton’s Strobe T → 32 STREE Stata ➔ R VASSA Alley ➔ Center MBarker Engineering TREET AR S ➔ T SS → Library - Bldg. 10-500 VA E J E E19 Tech Coop → → R NCompton Gallery 57 T → → S T T Bldg. 10-1st floor 68 S ➔ → E Kendall M E18 T O Stata Center → A Square W35 13 ➔ ➔ B ➔ 56 E17 E25 E38 P MIT Museum ➔ Zesiger ➔ 16 → K 66 W20 ➔→→→→ ➔ → → N → Whitaker College ➔→→ Center ➔→ → ➔→→ ➔ ➔ → ➔ ➔ You are here 10 8 → ➔ → 7➔→ M 4 A → E23 Information 54 C Center L 18 → E15 MIT Medical F → D ➔ W16 I 62 64 → ➔→→W15➔ 3 4 6 McDermott E ➔ E14 Court → → 5 → E40 G ➔ ➔→→→ ➔ ➔→→→→→→ ➔→→→→→→→→→→→→→→14N ➔ 14W 14E E2 E53 1 Killian Court 2 E51 H 14S 50 E52 Gray E56 House Sloan School D O R M I T O R I E S MEMORIAL DRIVE MEMORIAL DRIVE Welcome to MIT! held at 10:00 am and names. The numbering you see a number on the route, letters of the alpha- William Barton Rogers, a problems. Today education The following suggested 2:00 pm. system might appear office doors, the first bet are used to avoid distinguished natural and research, with tour route and description confusing at first, but there number refers to the confusion with the building scientist, founded MIT to relevance to the practical should aid you in exploring We suggest that you begin is a logical explanation as building number and then numbers. -
• Press Release Contact: Andrea Allen (585) 276-8932 / [email protected] Shirley Wersinger (585) 276-8935 / [email protected] March 21, 2006
Memorial Art Gallery 500 UNIVERSITY AVENUE OF THE UNIVERSITY OF ROCHESTER ROCHESTER, NEW YORK 14607 585.276.8900 585.473.6266 FAX MAG.ROCHESTER.EDU • Press Release Contact: Andrea Allen (585) 276-8932 / [email protected] Shirley Wersinger (585) 276-8935 / [email protected] March 21, 2006 MEMORIAL ART GALLERY OPENS MAJOR REINSTALLATION OF AMERICAN COLLECTION ROCHESTER, NY — “Seeing America,” a major reinstallation of the Memorial Art Gallery's noted American collection, is now open to the public. Spanning four centuries and occupying 7,000 square feet on MAG’s first floor, the new installation brings together some of the finest works in the collection as it constitutes what chief curator Marjorie Searl calls “a journey in space and time.” The 114 works range from the Colonial era, exemplified by John Singleton Copley’s unfinished portrait (ca. 1762) of Boston silversmith Nathaniel Hurd, to politically charged mixed-media pieces by contemporary artists Jaune Quick-to- See Smith, Christian Boltanski and Binh Danh. In between are works by such masters as Thomas Cole, Winslow Homer, Augustus Saint-Gaudens, Thomas Eakins, John Sloan, George Bellows, Helen Frankenthaler, Jackson Pollock, Jacob Lawrence and Dale Chihuly. (A com- plete checklist is attached.) Of particular interest, Georgia O’Keeffe’s Jawbone and Fungus (1937) is displayed for the first time in a plexiglas case that allows visitors to see the brightly colored, unfinished abstract painting on the reverse—a painting that dates to the 1920s and that the artist abandoned for reasons unknown. Three galleries are grouped chronologically—“Art of a Young Nation” (Colonial era–1900); “Controversy and Change” (1900–1950); and “Art and Ideas” (1950–the present). -
MIT Parents Association 600 Memorial Drive W98-2Nd FL Cambridge, MA 02139 (617) 253-8183 [email protected]
2014–2015 A GUIDE FOR PARENTS produced by in partnership with For more information, please contact MIT Parents Association 600 Memorial Drive W98-2nd FL Cambridge, MA 02139 (617) 253-8183 [email protected] Photograph by Dani DeSteven About this Guide UniversityParent has published this guide in partnership with the Massachusetts Institute of Technology with the mission of helping you easily contents Photograph by Christopher Brown navigate your student’s university with the most timely and relevant information available. Discover more articles, tips and local business information by visiting the online guide at: www.universityparent.com/mit MIT Guide The presence of university/college logos and marks in this guide does not mean the school | Comprehensive advice and information for student success endorses the products or services offered by advertisers in this guide. 6 | Welcome to MIT 2995 Wilderness Place, Suite 205 8 | MIT Parents Association Boulder, CO 80301 www.universityparent.com 10 | MIT Parent Giving Top Five Reasons to Join Advertising Inquiries: 11 | (855) 947-4296 12 | 100 Things to Do before Your Student Graduates MIT [email protected] 20 | Academics Top cover photo by Christopher Harting. 21 | Resources for Academic Success 22 | Supporting Your Student 24 | Campus Map 27 | Department of Athletics, Physical Education, and Recreation 28 | MIT Police and Campus Safety SARAH SCHUPP PUBLISHER 30 | Housing MARK HAGER DESIGN MIT Dining 32 | MICHAEL FAHLER AD DESIGN 33 | Health Care What to Do On Campus Connect: 36 | 39 | Navigating MIT facebook.com/UniversityParent 41 | Academic Calendar MIT Songs twitter.com/4collegeparents 43 | 45 | Contact Information © 2014 UniversityParent Photo by Tom Gearty 48 | MIT Area Resources 4 Massachusetts Institute of Technology 5 www.universityparent.com/mit 5 MIT is coeducational and privately endowed.