DOCSLIB.ORG

Annual Report for the Year 2017-2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SEATTLE ART MUSEUM ANNUAL REPORT 2017 – 2018 JULY 1, 2017 THROUGH JUNE 30, 2018 CONTENTS LETTER FROM THE DIRECTOR & CEO, CHAIRMAN & PRESIDENT OF THE BOARD 3 SEATTLE ART MUSEUM 12 ASIAN ART MUSEUM 18 OLYMPIC SCULPTURE PARK 24 EXHIBITIONS, INSTALLATIONS & PUBLICATIONS 27 ACQUISITIONS 40 FINANCIAL & ATTENDANCE REPORT 44 EDUCATION & PUBLIC PROGRAMS 48 BOARD OF TRUSTEES, STAFF & VOLUNTEERS 56 DONOR RECOGNITION Cover: Installation view of Yayoi Kusama: Infinity Mirrors at Seattle Art Museum, 2017, photo: Natali Wiseman. Contents: Installation view of Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas at Seattle Art Museum, 2018, photo: Stephanie Fink. ANNUAL REPORT 2017 – 18 Photo: Natali Wiseman. LETTER FROM THE DIRECTOR The fiscal year of 2017/2018 was an exciting one publications, programs, acquisitions, and initiatives for all three locations of the Seattle Art Museum. that helped us accomplish our mission of & CEO, CHAIRMAN & It included astounding highlights such as the connecting art to life in this fiscal year. PRESIDENT OF THE BOARD resounding success of the popular Yayoi Kusama: We are proud of the hard work of all involved and Infinity Mirrors exhibition at Seattle Art Museum, wish to extend our deepest thanks to our members, the official groundbreaking that kicked off the donors, sponsors, volunteers, trustees, and staff $56 million restoration and enhancement of whose support, generosity, and tireless work helped the beautiful Art Deco Asian Art Museum, and make these great achievements possible. a tremendous two-day celebration in honor of the founders of the Olympic Sculpture Park, Jon Kimerly Rorschach and Mary Shirley, that raised nearly $700,000 to Illsley Ball Nordstrom Director and CEO benefit programs at the sculpture park. These Stewart Landefeld important milestones were matched by financial Chairman, Board of Trustees success for the museum with blockbuster exhibitions driving membership, admissions, Winnie Stratton museum store, and café growth year over year. President, Board of Trustees In the report that follows, we highlight each of our locations and offer details about these successes and the many other exhibitions, installations, 2 ANNUAL REPORT 2017 – 18 SEATTLE ART MUSEUM Photo: Natali Wiseman. 3 A YEAR OF DYNAMIC GLOBAL PROGRAMMING In 2017–18, SAM celebrated the depth of its global artistic program through exhibitions ANNUAL REPORT 2017 – 18 and educational programming that resonated with visitors from near and far. The downtown museum saw strong attendance and record museum membership, which reached an all-time high of 55,991 households. From the enthusiasm surrounding Yayoi Kusama: Infinity Mirrors to the new scholarship introduced by Andrew Wyeth: In Retrospective, and the thought- provoking questions raised by Figuring History, this year proved to be one of SAM’s most dynamic. Energetic participation, thoughtful engagement, impactful collaborations and generous support all came together to enliven the museum in brilliant, new ways. Installation view of Yayoi Kusama: Infinity Mirrors at Seattle Art Museum, 2017, photo: Natali Wiseman. 4 YAYOI KUSAMA: INFINITY MIRRORS IGNITES EXCITEMENT AND INSPIRATION ANNUAL REPORT 2017 – 18 The year opened with Yayoi Kusama: Infinity Activities across all departments supported the Mirrors, an exhibition that prompted around- monumental success of Yayoi Kusama: Infinity the-block lines of visitors eager to experience Mirrors. SAM’s conservators provided critical the artist’s immersive Infinity Mirror Rooms. insights into the care and display of the artist’s Kusama, who has been creating work since the complex works. Engaging educational programs 1950s, became the unlikely pop star of 2017. included an evening screening of Kusama’s film The exhibition welcomed visitors from nearly and video works and an interactive Pom-Pom every state in the US, as well as from countries Garden Installation presented by the Gardner throughout the world. Over 16,000 people became Center for Asian Art and Ideas. The Sunday museum members during the three months of Drop-In Studio: Infinity Reflections series also the exhibition—a testament to the community’s offered a special opportunity for visitors of all enthusiasm for this unique opportunity to see ages to participate in hands-on art making the life’s work of a true visionary. The in-depth inspired by Kusama’s processes alongside local survey offered an opportunity for visitors to artists, including Junko Yamamoto, Celeste experience five of her iconic Infinity Mirror Cooning, Regina Schilling, and Ellen Ziegler. Rooms alongside more than 60 works on paper, sculptures, and large-scale paintings from the Installation view of Yayoi Kusama: Infinity Mirrors at Seattle 1950s to the present, including the West Coast Art Museum, 2017, photo: Natali Wiseman. debut of her most recent works. 5 ANNUAL REPORT 2017 – 18 ANDREW WYETH: IN RETROSPECT EXPLORES A MASTER ARTIST IN UNEXPECTED WAYS In the fall, SAM presented the groundbreaking aspects of the seminal artist that are captured in SAM showcased the films created by 25 teams, exhibition Andrew Wyeth: In Retrospect, curated the accompanying catalogue co-edited by Junker. which ranged from poignant to humorous. The by Patricia Junker, SAM’s Ann M. Barwick Teen Arts Group also designed tours focused on SAM’s Education and Public Programs team also Curator of American Art, in partnership with the historical representations of the female figure and organized a wide-ranging slate of programming. Brandywine River Museum. Featuring over 100 the ways those histories intersect with the #MeToo Educators created an audio guide in partnership paintings and drawings from throughout Wyeth’s movement. The exhibition resonated strongly with the Brandywine River Museum that offered career, the exhibition followed the evolution of with teachers; over 400 attended the Educator engaging insights into the exhibition and was one of America’s most famous painters by Preview—one of the highest figures experienced by over 18,000 visitors. Public bringing together well-known and rarely seen ever seen for this event. Programming explored the cinematic influence of works. Andrew Wyeth: In Retrospect was Andrew Wyeth’s work, inviting local filmmakers to especially noteworthy for the new scholarship it create short films inspired by the paintings during brought to light, including the role that film played a weeklong sprint; throughout the exhibition, in inspiring Wyeth’s art and other lesser-known Installation views of Andrew Wyeth: In Retrospect at Seattle Art Museum, 2017, photos: Natali Wiseman. 6 FIGURING HISTORY REDEFINES REPRESENTATION AND INSPIRES NEW COLLABORATIONS The spring exhibition Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas featured three pioneering artists from ANNUAL REPORT 2017 – 18 successive generations who use figurative painting to critique and redefine mainstream narratives of Black representation. Curated by Catharina Manchanda, Jon & Mary Shirley Curator of Modern & Contemporary Art, the exhibition and its publication presented important works from SAM’s collection, including the recently acquired Les Demoiselles d’Alabama: Vestidas (1985) by Colescott, alongside loans from several institutions and collections. Mickalene Thomas also created new works for the exhibition. Figuring History reflected the museum’s role in the community as a place where exciting and challenging questions can be asked—an aspect of the show that was at the heart of its robust educational programming. The Figuring History cell phone tour featured a range of voices and stories from local cultural ambassadors and was used by over 1,600 visitors. An interactive educational space called “Reflect and Respond” combined digital and analog activities to surface important questions raised by the exhibition and inspired thousands of note-card responses from visitors. The Complex Exchange program series, hosted at both the Seattle Art Museum and at the Northwest African American Museum (NAAM), featured Seattle community members from a variety of disciplines, who tackled themes that resonated with Figuring History and NAAM’s exhibition Everyday Black. A number of community partnerships and collaborations were essential to Figuring History’s success. SAM was honored to collaborate with the Seattle People of Color Salon (SPoCS ) to implement viewing hours open only to SPoCS members. This opportunity was created specifically for People of Color, by People of Color. The viewing hours took place once per month, were free for SPoCS members, and included networking, activities, and facilitated discussions with local podcasters. The exhibition’s Community Opening also featured a partnership between Teen Arts Group and the NAAM Youth Curators, who co-led tours centered on African American history and identity. SAM partnered with Kids and Race to co-author a guide focused on looking at works of art and generating discussions on race and identity with young children. SAM’s Education team also deepened their relationship with Exhibition Educator advisors. Donte Felder and Eve Sanford reviewed the Educator Resource Guide and also led the Educator Workshop, a collaborative method that will be used as a model for future exhibitions. Installation views of Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas 7 at Seattle Art Museum, 2018, photos: Stephanie Fink and Natali Wiseman. JEAN-MICHEL BASQUIAT’S UNTITLED: A RARELY SEEN MASTERPIECE COMES TO SEATTLE In March
Recommended publications
  • Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei

    Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei

    Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media.
  • INDIANS DISCOVERING LEWIS and CLARK Oil Painting by C

    INDIANS DISCOVERING LEWIS and CLARK Oil Painting by C

    INDIANS DISCOVERING LEWIS AND CLARK Oil Painting by C. M. Russell Montana Historical Society, Mackay Collection THE LEWIS AND CLARK TRAIL HERITAGE FOUNDATION, INC. President Incorporated 1969 under Missouri General Not-For-Profit Corporation Act IRS Exemption Certificate No. 501 (C)(3) - Identification No. 51-0187715. Montague~s OFFICERS - EXECUTIVE COMMITIEE President 1st Vice President 2nd Vice President message H. John Montague Donald F. Nell Robert K. Doerk, Jr. 2928 N.W. Verde Vista Terrace P.O. Box577 P.O. Box 50ll Portland, OR 97210 Bozeman, MT 59715 Great Falls, MT 59403 Edrie Lee Vinson, Secretary John E. Walker, Treasurer 1405 Sanders 200 Market St., Suite 1177 Helena, MT 59601 Portland, OR 97201 By any measure, the 19th Annual Meeting Marcia Staigmiller, Membership Secretary of the Lewis and Clark Trail Heritage Foun­ RR 4433; Great Falls, MT 59401 dation was a resounding success. Sincere DIRECTORS thanks and commendations seem inadequate Ruth Backer James R. Fazio Ralph H. Rudeen in reviewing the efforts by our hosts, John Cranford, NJ Moscow, ID Olympia, WA and Pat Foote. They presented a wonderful opportunity to pursue the objectives of the Raymond L. Breun Harry Fritz Arthur F. Shipley St. Louis, MO Missoula, MT Bismarck, ND Foundation. During the visits to the expedi­ tion campsites and the float trip down the Patti A. Thomsen Malcolm S. Buffum James P. Ronda Waukesha, WI Yellowstone River, one could empathize with Portland, OR Youngstown, OH Captain Clark and his party as they pro­ Winifred C. George John E. Foote, Immediate Past President ceeded down the Yellowstone River to its St.
  • Illustrating Stories of the American West Karen Yarnall Introduction This Unit Is the Result from Taking the Delaware Teachers I

    Illustrating Stories of the American West Karen Yarnall Introduction This Unit Is the Result from Taking the Delaware Teachers I

    Illustrating Stories of the American West Karen Yarnall Introduction This unit is the result from taking the Delaware Teachers Institute seminar “The American West as Place, Process, and Story” with University of Delaware’s Barry Joyce, Associate Professor of History. Not only will it fit into our art curriculum, but it will also increase the students’ knowledge of the American West and add an appreciation of tales that are a part of it. This unit will allow students to make cross-curricular connections between social studies, literature, geography, reading, writing, and art. After studying the American West with its rich history, art, and stories, my students will then select and research a folk tale, legend, myth, story, tall tale or Native American story from the west and capture a moment from their selections on paper in a color illustration. They will analyze and evaluate their own work and that of their peers in critiques. The unit will culminate with an art show for the community featuring the student illustrations. As one of three art teachers at Newark High School in Newark, Delaware, I plan to teach this unit in two of my classes. My Art Fundamentals class is our foundations course with an enrollment of over 30 9th, 10th, 11th and 12th grade students. The other class is my small upper level Advanced Drawing class that is composed of juniors and seniors who have more advanced skills. Newark High School is a Title 1 school with a population that is over 50% minority, 43% low income and 7% special education.
  • THE CLEVELAN ORCHESTRA California Masterwor S

    THE CLEVELAN ORCHESTRA California Masterwor S

    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
  • Ryan Molenkamp

    Ryan Molenkamp

    RYAN MOLENKAMP Selected solo exhibitions 2018 The Last Frontier, Kirkland Arts Center/Kirkland Public Library, Kirkland, WA 2017 Vancouver! Vancouver! This is It!, Linda Hodges Gallery, Seattle, WA 2016 Still Afraid, Linda Hodges Gallery, Seattle, WA 2016 New Paintings, Duplex Gallery, Portland, OR 2014 Fear of Volcanoes, Linda Hodges Gallery, Seattle, WA 2011 The Watcher, Bryan Ohno Gallery, Seattle, WA 2010 Flood, Gallery4Culture, Seattle, WA Sound Plans, Handforth Gallery @ Tacoma Public Library, Tacoma, WA 2008 View Lots, SOIL Gallery, Seattle, WA 2003 Automatic Style, Brick and Mortar Gallery, Tacoma, WA Selected group exhibitions 2018 Collectors Choice, SAM Gallery, Seattle, WA 2018 Outside Influences, SAM Gallery, Seattle, WA 2017 Point of View, LAUNCH LA/KP Projects, Los Angeles, CA 2017 Seeing Northwest Nature, SAM Gallery, Seattle, WA 2016 Urban Artist Showcase, Chehalem Cultural Center, Newberg, OR 2015 Bellingham National 2015, Whatcom Museum, Bellingham, WA 2014 Made in the Northwest, SAM Gallery, Seattle, WA 2013 Suburbia: Dream or Nightmare?, Linda Hodges Gallery, Seattle, WA Connections, Cuchifritos Gallery, New York, NY Cascadia, Collar Works Galley, Troy, NY 2012 Conditions of Possibility, Umpqua Valley Arts Center, Roseburg, OR 2011 Earth Matters, SAM Gallery, Seattle, WA Home Away From Home, Jacob Lawrence Gallery, Seattle, WA Mad Homes, public art exhibition presented by MadArt, Seattle, WA Forecast: Communicating Weather and Climate, WA State Convention Center Bloom + Collapse, SOIL, Seattle, WA 2010 KAC Links Invitational,
  • Ten Years in Washington. Life and Scenes in the National Capital, As a Woman Sees Them

    Ten Years in Washington. Life and Scenes in the National Capital, As a Woman Sees Them

    Library of Congress Ten years in Washington. Life and scenes in the National Capital, as a woman sees them Mary Clemmer Ames TEN YEARS IN WASHINGTON. LIFE AND SCENES IN THE NATIONAL CAPITAL, AS A WOMAN SEES THEM. 486 642 BY MARY CLEMMER AMES, Author of “Eirene, or a Woman's Right,” “Memorials of Alice and Phœbe Cary,” “A Woman's Letters from Washington,” “Outlines of Men, Women and Things,” etc. FULLY ILLUSTRATED WITH THIRTY FINE ENGRAVINGS, AND A PORTRAIT OF THE AUTHOR ON STEEL. LIBRARY OF CONGRESS WASHINGTON COPYRIGHT 1873 No 57802 HARTFORD, CONN.: A. D. WORTHINGTON & CO. M. A. PARKER & CO., Chicago, Ills. F. DEWING & CO., San Francisco, Cal. 1873. no. 2 F1?8 ?51 Entered according to Act of Congress in the year 1873, by A. D. WORTHINGTON & CO., In the office of the Librarian of Congress, at Washington, D. C. Case Lockwood & Brainard, PRINTERS AND BINDERS, Cor. Pearl and Trumbull Sts., Hartford, Conn. Ten years in Washington. Life and scenes in the National Capital, as a woman sees them http://www.loc.gov/resource/lhbcb.28043 Library of Congress I wish to acknowledge my indebtedness, in gathering the materials of this book, to Mr. A. R. Spofford, Librarian of Congress; to Col. F. Howe; to the Chiefs of the several Government Bureaus herein described; to Mr. Colbert Lanston of the Bureau of Pensions; to Mr. Phillips, of the Bureau of Patents; and to Miss Austine Snead. M. C. A. TO Mrs. HAMILTON FISH, TO Mrs. ROSCOE CONKLING, OF NEW YORK, TWO LADIES, WHO, IN THE WORLD, ARE YET ABOVE IT,—WHO USE IT AS NOT ABUSING IT, WHO EMBELLISH LIFE WITH THE PURE GRACES OF CHRISTIAN WOMANHOOD, THESE SKETCHES OF OUR NATIONAL CAPITAL ARE SINCERELY Dedicated BY MARY CLEMMER AMES.

  • To See Anew: Experiencing American Art in the 21St Century

    Initiatives in Art and Culture To See Anew: Experiencing American Art in the 21st Century 21ST ANNUAL AMERICAN ART CONFERENCE FRIDAY – SATURDAY, MAY 20 – 21, 2016 1851, after an original of 1851, The Greek Slave, The Greek Stuart Davis, Swing Landscape, 1938, oil on canvas, 86¾ x 172⅞ in. Indiana University Art Museum, Bloomington, Indiana. © Estate of Stuart Davis/Licensed Hiram Powers, Powers, Hiram Art University x 18¼ in. Yale 1844, marble, 65¼ x 21 Dann Fund. 1962.43, Olive Louise Gallery, by VAGA, New York, NY. Jonathan Boos. Jonathan Boos. 36 x 29 in. Private collection; photo: courtesy, canvas, Guy Pène du Bois, Country Wedding, Henry Peters Gray, The Wages of War, 1848, oil on 1929, oil on canvas, 48¼ x 76¼ in. The Metropolitan Museum of Art, gift of Several Ladies and Gentlemen, 1873. 73.5. THE GRADUATE CENTER, THE CITY UNIVERSITY OF NEW YORK To See Anew: Experiencing American Art in the 21st Century 21ST ANNUAL AMERICAN ART CONFERENCE Heilbrun, 1922). Chanler. Robert Winthrop Ivan Narodny, (from: 1921 Chanler, Robert Winthrop New York: William New York: Avian Arabesque, Avian Arabesque, The Art of In this conference, Initiatives in Art and Culture considers iconic works by recognized masters, seeking to understand both why they were celebrated in their own time and why they retain their power today. At the same time, we explore the works of artists who did not retain the renown they enjoyed during their lifetimes and who fell into obscurity. But obscurity is not necessarily forever, and as cycles of taste have changed, these once-forgotten artists and their largely unknown works have re-surfaced to startle us today.

  • The Artists' View of Seattle

    WHERE DOES SEATTLE’S CREATIVE COMMUNITY GO FOR INSPIRATION? Allow us to introduce some of our city’s resident artists, who share with you, in their own words, some of their favorite places and why they choose to make Seattle their home. Known as one of the nation’s cultural centers, Seattle has more arts-related businesses and organizations per capita than any other metropolitan area in the United States, according to a recent study by Americans for the Arts. Our city pulses with the creative energies of thousands of artists who call this their home. In this guide, twenty-four painters, sculptors, writers, poets, dancers, photographers, glass artists, musicians, filmmakers, actors and more tell you about their favorite places and experiences. James Turrell’s Light Reign, Henry Art Gallery ©Lara Swimmer 2 3 BYRON AU YONG Composer WOULD YOU SHARE SOME SPECIAL CHILDHOOD MEMORIES ABOUT WHAT BROUGHT YOU TO SEATTLE? GROWING UP IN SEATTLE? I moved into my particular building because it’s across the street from Uptown I performed in musical theater as a kid at a venue in the Seattle Center. I was Espresso. One of the real draws of Seattle for me was the quality of the coffee, I nine years old, and I got paid! I did all kinds of shows, and I also performed with must say. the Civic Light Opera. I was also in the Northwest Boy Choir and we sang this Northwest Medley, and there was a song to Ivar’s restaurant in it. When I was HOW DOES BEING A NON-DRIVER IMPACT YOUR VIEW OF THE CITY? growing up, Ivar’s had spokespeople who were dressed up in clam costumes with My favorite part about walking is that you come across things that you would pass black leggings.
  • Resume Di Nino Full 2020 (Pdf) Download

    Resume Di Nino Full 2020 (Pdf) Download

    lynndinino.com 2313 N 29th St .Tacoma Wa 98403 . (253) 396 0774 . [email protected] Born: Roswell, N.M. 1945 A freelance artist since 1974, I’m self-taught and completely self-supporting through private commissions, shows and galleries. My sculptural work stems from ideas or phrases, usually involving social or political observation. The excitement comes in selecting the right materials to fit the idea: maybe concrete, household objects, plastic, shredded newspaper, coffee beans – whatever will express my story in a clever way. I often use animal shapes. I sometimes combine a sober idea with humor for impact. I also have a long history of working in five dimensions: the usual three plus working with large groups of artists and presenting performance in real time, involving ideas, costumes, props, music, lights, and spoken word. GROUP SHOWS: VISUAL ART 2021 ERA Living: Sheltering in the Studio curated by June Sekiguchi, Culver House Broadview, Seattle WA 2020 note: due to COVID, many shows online only NWCraft20, juried online exhibition benefiting the Bellevue Arts Museum, Bellevue WA https://www.nwdesignercraftsmen.org/ ERA Living: Beloveds: Artist Couples curated by June Sekiguchi, Lakeshore Residence, Seattle WA https://madmimi.com/p/782c711 Icon 2020, Lynn Hanson Gallery, (also years 2017, 2018, 2019) Seattle WA http://www.lynnhansongallery.com/icon-2020.html MIND + BODY juried invitational, Port Angeles Fine Arts Center, Port Angeles, WA http://www.pafac.org/wellbeing.html 2020 SOUTHWEST JURIED EXHIBITION, Leonor Fuller Gallery, South Puget Sound College https://spscc.edu/gallery/exhibition/southwest-juried-show-2020 RECYCLED ARTS SHOW curated by Debbie Palmer, Fogue Art Gallery, Georgetown Seattle WA https://www.seattlerecycledarts.com/fogue-gallery-show REFLECTIONS Kirkland Arts Center, invitational by Donna Lindeman Porter, Kirkland WA https://my.matterport.com/show/?m=bazM3TMYvBo CURRENTS 2020, NWDC* juried membership, Schack Art Center, Everett WA.
  • Annual Report 1995

    Annual Report 1995

    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
  • Oral History Interview with Edward B. Thomas, 1983 April 28-May 10

    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.
  • The Miare Festival Is an Expression of the Living Faith of Local Fishermen. Chapter 3 Justification for Inscription

    The Miare Festival Is an Expression of the Living Faith of Local Fishermen. Chapter 3 Justification for Inscription

    The Miare Festival is an expression of the living faith of local fishermen. Chapter 3 Justification for Inscription 3.1.a Brief Synthesis 3.1.b Criteria Under Which Inscription is Proposed 3.1.c Statement of Integrity 3.1.d Statement of Authenticity 3.1.e Protection and Management Requirements 3.2 Comparative Analysis 3.3 Proposed Statement of Outstanding Universal Value The Sacred Island of Okinoshima and Associated Sites in the Munakata Region Chapter 3 Justification for Inscription Justification for Inscription 3.1.a Brief Synthesis The Sacred Island of Okinoshima and Associated Sites in the Munakata Region is located in the western coastal area of Japan. It is a serial cultural property that has eight component parts, all of which are linked to the worship of a sacred island that has continued from the fourth century to the present day. These component parts include Okitsu-miya of Munakata Taisha, which encompasses the entire island of Okinoshima and its three attendant reefs, located in the strait between the Japanese archipelago and the Korean peninsula; Okitsu- miya Yohaisho and Nakatsu-miya of Munakata Taisha, located on the island of Oshima; and Hetsu-miya of Munakata Taisha and the Shimbaru-Nuyama Mounded Tomb Group, located on the main island of Kyushu. Okinoshima has unique archaeological sites that have survived nearly intact, providing a chronological account of how ancient rituals based on nature worship developed from the fourth to the ninth centuries. It is of outstanding archaeological value also because of the number and quality of offerings discovered there, underscoring the great importance of the rituals and serving as evidence of their evolution over a period of 500 years, in the midst of a process of dynamic overseas exchange in East Asia.