DOCSLIB.ORG

Download Commencement Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Commencement Program UNIVERSITY OF THE ARTS 142ND COMMENCEMENT BOARD OF TRUSTEES OFFICERS Jeffrey A. Lutsky, Chairman Brian Effron, Vice Chairman William R. Gast ’68, Secretary Bruce E. Kardon, Treasurer David Yager, ex officio, President and CEO TRUSTEES Judson A. Aaron ’81 Joseph Aristone Ralph Citino Eleanor L. Davis Deanna S. DeCherney ’66 Patricia Fowler UNIVERSITY OF THE ARTS Amy H. Goldman Peter Haas 142ND COMMENCEMENT Nathaniel P. Hamilton Jr., ’07 Seth Lehr Elaine C. Levitt Robert G. Little ’81 Karen Lotman Dr. Noel Mayo ’60 Thomas M. Miles ’75 Ronald Naples Adolf A. Paier Lawrence S. Reichlin Ebonne Ruffins Mark H. Samuels Carole Shanis Stephen Sypherd Raj Tewari Laurie Wagman Harriet G. Weiss LIFE TRUSTEES Ira Brind Sam S. McKeel Commencement Ceremony TRUSTEES EMERITI George A. Beach ’58 SATURDAY, MAY 16, 2020 Sondra Myers Albert E. Wolf FACULTY REPRESENTATIVES Karl Staven Anna Beresin COMMENCEMENT CEREMONY SATURDAY, MAY 16, 2020 Performance Personal Messages—9:30 a.m. “With A Little Help From My Friends” Ceremony—10:00 a.m. University of the Arts School of Music Commencement Ensemble Held virtually at commencement.uarts.edu featuring Graduating Vocal Performance Majors Greetings from Alumni Association Adam Blackstone ’04 (Instrumental Performance) PERSONAL MESSAGES Parents, Professors, Fellow Graduates and Friends Silver Star Outstanding Alumni Awards David Ewing BFA ’68 (Film) Presented by Mike Attie, Assistant Professor CEREMONY Libby Newman BFA ’80 (Printmaking) President’s Opening Remarks Presented by Patty Smith, Professor David Yager, President and CEO Honorary Doctor of Fine Arts Degree “America the Beautiful” Njideka Akunyili Crosby School of Music Faculty Presented by David Yager, President and CEO President’s Address Commencement Address David Yager, President and CEO Njideka Akunyili Crosby Greetings from the Board of Trustees Honorary Doctor of Fine Arts Degree Jeffrey A. Lutsky Phong H. Bui BFA ’85 (Illustration) Chairman, Board of Trustees Presented by David Yager, President and CEO Valedictory Speaker Commencement Address La’Needra Louise Luvenia Cornelious ’20 (Acting) Phong H. Bui BFA ’85 (Illustration) Presentation of Diplomas President’s Awards Conferral of Degrees and Other Academic Attainments Presented by David Yager, President and CEO David Yager, President and CEO Faculty Awards Jeffrey A. Lutsky, Chairman, Board of Trustees Presented by Carol Graney Closing Remarks Vice President for Academic Affairs David Yager, President and CEO Lindback Distinguished Teaching Award Nancy Heller, Professor, Critical Studies RECESSIONAL President’s Distinguished Teaching Award Ralph Giguere, Adjunct Associate Professor, Illustration PhillyBloco DOCTOR OF FINE ARTS honoris causa It is a University of the Arts tradition that during its Commencement ceremony, the institution bestows its highest honorary degree, the Doctor of Fine Arts, honoris causa, on distinguished individuals. Honorary degrees recognize extraordinary intellectual or artistic achievement, service to the University and to the wider society, and those who serve as examples to the institution’s student body. PHONG H. BUI BFA ’85 (Illustration) Phong Bui is an artist, writer, independent curator, publisher and artistic director of the Brooklyn Rail, the River Rail, Rail Editions and Rail Curatorial Projects. He is a trustee of Studio in a School, the Louis Comfort Tiffany Foundation, Anthology Film Archives, the Third Rail, the Miami Rail, Sharpe-Walentas Studio Program, Second Shift Studio Space of Saint Paul, International Association of Art Critics (AICA-USA 2007–2020), among others, and was curatorial advisor at MoMA PS1 (2007–2010). He is also a member of the Art Advisory Council of Fountain House Gallery, cofounder and co-chairman of the Monira Foundation, a nonprofit which aims to curate ongoing exhibitions and public programming at Mana Contemporary in Jersey City and beyond. His recent projects include Artists Need to Create on the Same Scale that Society Has the Capacity to Destroy, an ongoing Rail Curatorial Project that was exhibited in HONORARY 2019 as an official Collateral Event of the Venice Biennale and at Colby Museum in Waterville, Maine. Forthcoming projects include the Detroit Rail; the L.A. Rail; the first U.S. retrospective of Jonas Mekas; andOccupy Industry City: Artists Need DEGREE to Create on the Same Scale that Society Has the Capacity to Destroy, Year 3; among others. RECIPIENTS NJIDEKA AKUNYILI CROSBY Akunyili Crosby was born in Enugu, Nigeria, in 1983 and currently lives and works in Los Angeles. She was a participant in La Biennale di Venezia, 58th International Art Exhibition, May You Live In Interesting Times, curated by Ralph Rugoff (May 11–Nov. 24, 2019). Her recent solo exhibitions include Njideka Akunyili Crosby: “The Beautyful Ones,” National Portrait Gallery, London (2018–2019) and Counterparts, Modern Art Museum of Fort Worth, Texas (2018–2019), and Baltimore Museum of Art (2017–2018). Akunyili Crosby is also the recipient of an honorary doctorate of art from Swarthmore College in 2019 and a 2017 MacArthur Fellowship and was named among Financial Times’ Women of the Year in 2016. SILVER STAR OUTSTANDING ALUMNI AWARD RECIPIENTS LIBBY NEWMAN BFA ’80 (Printmaking) Libby Newman BFA ’80 (Printmaking) was founding director and curator of the Esther M. Klein Gallery at the University City Science Center in West Philadelphia for 25 years. As a representative of Artists Equity, she advocated for artists’ rights before the U.S. House Committee on Ways and Means. Newman was also curator of exhibitions for the governor’s garden in Harrisburg during the tenure of Pennsylvania Gov. Richard Thornburgh (1979–1987). For her contribution to the arts community, she was selected to be a Distinguished Daughter of Pennsylvania. Additionally, Newman is an active artist who produces prints, paintings, paneled screens and artists’ books. Her work has been exhibited internationally and is in the collections of more than 30 museums and libraries around the world, including those of the Israel Museum in Jerusalem; the Library of Congress in Washington, D.C.; the Paper Museum in Tokyo; and the Philadelphia Museum of Art. DAVID EWING BFA ’68 (Film) David Ewing is a 12-time Emmy Award–winning editor and producer for a SILVER wide variety of clients, including ABC Jennings Unit, ABC Koppell Unit, CBS, CNN, Discovery, Frontline, National Geographic, NBC Dateline, PBS, TLC and many other organizations. David’s work has varied, ranging from the ABC STAR AWARD documentary Peter Jennings: From the Killing Fields, to CableACE nominee Wildlife Adventures: Survival of the Yellowstone Wolves, to Becoming Al Gore for CNN. He also has four Peabody Awards. RECIPIENTS In addition, David also has his own production company, DE Media, a division of Bayside Productions, where he produces, directs, writes, films and edits documentaries and news features. As if that’s not enough, he also acts, and appeared in Season 4 of Netflix’sHouse of Cards and in the Rob Reiner filmLBJ , which starred Woody Harrelson. PAST SILVER STAR ALUMNI AWARD RECIPIENTS 1955 1965 1978 1991 2001 2011 Tina Leser Joseph Kramer ’47 Albert Gold Lydia Artymiw Margaret Garwood Evan Solot Irving Penn DIPL ’38 (Advertising Design) DIPL ’38 (Illustration) BM ’73 (Piano) BM ’75 (Composition) BM ’67 (Trumpet), (Design Laboratory) Theodore Miller ’47 Ed Colker DIPL ’49 Myra Mimlitsch-Gray MM ’75 (Music Performance) 1979 (Advertising Design) (Advertising Design) BFA ’84 (Jewelry) Leonard Lehrer 1956 Charles Santore Morris Lomden ’47 BFA ’56 (Illustration) Raymond Ballinger DIPL ’31 BFA ’56 (Illustration) 1992 2002 (Advertising Design) (Advertising Design) Jerry Pinkney DIPL ’60 Diane Monroe 2012 Bernard Glassman DIPL ’47 1980 Henry C. Pitz DIPL ’17 (Advertising Design) BM ’75 (Violin) Hilary Clark (Advertising Design) Evelyn Copelman Spivak ’41 (Illustration) Pearl B. Schaeffer Eileen Neff BFA ’72 (Painting) BFA ’98 (Modern Dance) (Illustration) 1966 BFA ’79 (Dance) Alina Wheeler 1957 2003 Rudolf Freund, Jr. 1981 BFA ’70 (Illustration) Wharton Esherick ’08 1993 Jennifer Childs DIPL ’36 (Industrial Art) Marguerite Walter (Drawing) Stanley Clarke ’71 (Bass) BFA ’90 (Theater) 2013 DIPL ’38 (Teacher Training) Charles Sheeler CERT ’01 1967 Joe Dante BFA ’68 Richard Kidney Kate Flannery (Industrial Drawing), Morris Berd DIPL ’36 1982 (Photography) BFA ’75 (Film) BFA ’87 (Acting) CERT ’02 (Decorative Painting (Advertising Design) Philip Eitzen DIPL ’52 Jayson Scott Musson 1994 2004 and Applied Art) (Advertising Design) BFA ’02 (Photography) 1968 Ruth Fine Donald Chittum 1958 Arnold Roth ’50 1983 BFA ’62 (Painting) BM ’56 (Music Performance) 2014 Earl Burns Milliette (Illustration) Thomas F. Schutte Florence Quivar Joseph Musso Adam W. Blackstone ’04 CERT ’13 (Industrial Drawing, BM ’67 (Voice) BFA ’63 (Illustration) (Instrumental Performance) 1969 Constructive Design and 1984 Jeffrey Stern William Stephens BS ’55 1995 2005 Modeling) Kevan Moss BS ’70 BFA ’75 (Film) (Industrial Design) John E. Davis Riitta Vainio Sol Mednick DIPL ’39 (Environmental Design) BM ’72 (Music Theory) DIPL ’62 (Dance) 2015 (Advertising Design) 1970 1985 Deborah Willis Susan Welchman Piper Shepard George Krause DIPL ’58 1959 Jacob Landau BFA ’75 (Photography) BFA ’70 (Photography) BFA ’85 (Fibers) (Advertising Design) Frances Lichten DIPL ’07 DIPL ’38 (Illustration) Brittanie Michelle Richardson 1996 2006 (Applied Art) 1971 BFA ’09 (Acting) 1986 Tom Butter Katherine D. Strickland Warren Blair DIPL ’47 Sidney Goodman Wesley Emmons BFA
Load more

Recommended publications
  • NJIDEKA AKUNYILI CROSBY B
    NJIDEKA AKUNYILI CROSBY b. 1983, Enugu, Nigeria EDUCATION 2011 MFA, Yale University School of Art, New Haven, CT 2006 Post-Baccalaureate Certificate, Pennsylvania Academy of the Fine Arts, Philadelphia, PA 2004 BA (Honors), Swarthmore College, Swarthmore, PA SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2016 Njideka Akunyili Crosby: Portals, Victoria Miro Gallery, London Njideka Akunyili Crosby: I Refuse to be Invisible, organized by Cheryl Brutvan, Norton Museum of Art, West Palm Beach, FL Before Now After (Mama, Mummy, Mamma), 95 Horatio Street, The Whitney Museum of American Art, New York, NY 2015 Hammer Projects: Njideka Akunyili Crosby, organized by Jamillah James, Hammer Museum, Los Angeles, CA The Beautyful Ones, organized by Jamillah James, Art + Practice, Los Angeles, CA 2013 I Always Face You, Even When it Seems Otherwise, Two-Person Show with Simone Leigh, Tiwani Contemporary, London Domestic Experiences, Foreign Interiors, Two-Person Show with Doron Langberg, Sensei Exchange, New York, NY I Still Face You, Franklin Art Works, Minneapolis, MN New Works, Two-Person Show with Abigail DeVille, Gallery Zidoun, Luxembourg SELECTED GROUP EXHIBITIONS 2017 Regarding The Figure, Studio Museum Harlem, NY POWER, Sprüth Magers, Los Angeles, CA African-Print Fashion Now! A Story of Taste, Globalization, and Style, Fowler Museum at UCLA, Los Angeles, CA 21 Artists Shortlisted for the Future Generation Art Prize 2017, Pinchuk Art Centre, Kiev, UKR 2016 The Grand Balcony, La Biennale de Montreal 2017 curated by Philippe Pirotte, Musee d’art Contemporain de Montreal, Montreal, QC NO MAN’S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington, D.C.
    [Show full text]
  • Remembering Robert Venturi, a Modern Mannerist
    The Plan Journal 4 (1): 253-259, 2019 doi: 10.15274/tpj.2019.04.01.1 Remembering Robert Venturi, a Modern Mannerist In Memoriam / THEORY Maurizio Sabini After the generation of the “founders” of the Modern Movement, very few architects had the same impact that Robert Venturi had on architecture and the way we understand it in our post-modern era. Aptly so and with a virtually universal consensus, Vincent Scully called Complexity and Contradiction in Architecture (1966) “probably the most important writing on the making of architecture since Le Corbusier’s Vers une architecture, of 1923.” 1 And I would submit that no other book has had an equally consequential impact ever since, even though Learning from Las Vegas (published by Venturi with Denise Scott Brown and Steven Izenour in 1972) has come quite close. As Aaron Betsky has observed: Like the Modernism that Venturi sought to nuance and enrich, many of the elements for which he argued were present in even the most reduced forms of high Modernism. Venturi was trying to save Modernism from its own pronouncements more than from its practices. To a large extent, he won, to the point now that we cannot think of architecture since 1966 without reference to Robert Venturi.2 253 The Plan Journal 4 (1): 253-259, 2019 - doi: 10.15274/tpj.2019.04.01.1 www.theplanjournal.com Figure 1. Robert Venturi, Complexity and Contradiction in Architecture (London: The Architectural Press, with the Museum of Modern Art, New York, 1977; or. ed., New York: The Museum of Art, 1966).
    [Show full text]
  • Awards in the Visual Arts 4 ^'^""'Li
    Awards in the Visual Arts 4 ^'^""'li. F36 Digitized by the Internet Archive in 2015 https://archive.org/details/awardsinvisualar04sout Awards in the Visual Arts 4 Awards in the Visual Arts 4 an exhibition of works by recipients of the fourth annual Awards in the Visual Arts Bert Brouwer James Croak John Buck Sidney Goodman JoAnne Carson Jon Imber Peter Charles Luis Jimenez Don Cooper Ana Mendieta 11 May through 23 June 1985 Albright' Knox Art Gallery Buffalo, l^ew York 2 August through 29 September 1985 Southeastern Center for Contemporary Art Winston-Salem, North Carolina 12 December 1985 through 26 January 1986 Institute of Contemporary Art University of Pennsylvania Philadelphia, Pennsylvania 6 Published by the Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, on the occasion of the "Awards in the Visual Arts 4" exhibition which was organized by the Southeastern Center for Contemporary Art. Library of Congress Catalog Card Number: 84-50289 ISBN: 0-9611560-1-5 Copyright 1985 by the Southeastern Center for Contemporary Art, 750 Marguerite Drive, P.O. Box 11927, Winston-Salem, North Carolina 27116-1927. All rights reserved. Catalogue design: Lee Hansley Printing: Wooten Printing Company, Inc. Price: $10 The Awards in the Visual Arts Program is funded by The Equitable Life Assurance Society of the United States, New York, New York; The Rockefeller Foundation, New York, New York; and the National Endowment for the Arts, federal agency, Washington, D.C. The program is administered by the Southeastern Center for Contemporary
    [Show full text]
  • From Lasvegas
    .c .~ OJ ~ ~ <Il ~ u [) o >­ --~----- -- r t'11 >­ ~ ,....z z o "'!j ~ ~ r >­C/l <: M Copyright ©1977, 1972 by ~ The Massachusetts Institute of Technology C/l Originally published as Learning from Las Vegas <: All rights reserved. No part of this book may be reproduced in any form or by any means, eke­ i1> tronic or mechanical, including photocopying, recording, or by any information storage and re­ ::l LEARNING trieval system, without permission in writing from the publisher. =.2 V! 8 >: b:I Library of Congress Cataloging in Publication Data 3 ,>. Venturi, Robert. ::l FROM Learning from Las Vegas. ,... N i1> Bibliography: p. ::l o 1. Architecture-Nevada-Las Vegas. 2. Symbolism in architecture. I. SCOtt Brown, Denise, C.., 1931- ,joint author. II. Izenour, Steven, joint author. III. Tide. NA735.L3V4 1977 720'.9793'13 77-1917 ISBN 0·262·72006-X (paperback) LAS VEGAS 20 Revised Edition 11111\1. Robert Venturi Denise Scott Brown Steven Izenour OJ ,­ J::"' (l) -l-J 01: ..... u Ql " ~ 4 LEARNING FROM LAS VEGAS THE ARCHITECTURE OF THE STRIP 35 lot required along the Strip because interaction is by car and highway. distances between buildings; because they are far apart, they can be {ou drive from one casino to another even when they are adjacent be­ comprehended at high speeds. Front footage on the Strip has not yet ause of the distance between them, and an intervening service station reached the value it once had on Main Street, and parking is still an ap­ ; not disagreeable. propriate filler. Big space between buildings is characteristic of the Strip.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
    Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey.
    [Show full text]
  • Violence Hits Cambridge
    Today: Special State Tercentenary Salute Edition Weather DISTRIBUTION 7 sum. temperature 60. Mostly TODAY fair today, Ugh 70. Cloudy to- BED BANK night, low In the 50s. Tomorrow, 23,925 chance of scattered showers, high 70. Thursday, gradual clearing, cooler. See weather, page 2. I DIAL 741-0010 diUr, Monday through FrMir. Second Clu« Pettaft PAGE ONE VOL. 86, NO. 225 t Rd Bi ud Mi Aatltiaui Halliac OBICM. RED BANK, N. J., TUESDAY, MAY 12, 1964 7c PER COPY In the Wake of Wallace Speech Violence Hits Cambridge CAMBRIDGE, Md (AP)-An Democratic primary and was sent to the hospital for treat- which were called out at the outburst of violence in the wake Applauded more than 40 times ment of minor injuries. height of similar violence in of a presidential campaign during a 45-minute- speech at- Deputy Atty. Gen. Robert Cambridge last summer. A to- speech by Alabama Gov. tacking the civil rights bill pend- Murphy said charges to be filed ken force of 10 had been as- George C. Wallace left this cen- ing in the Senate. against some of those arrested signed to the uneasy city Use Tear Gas still were under study. throughout the winter, but there ter of racial strife in the grip had been no curfew or other re- of new tensions today. Balked by guardsmen wearing "It may be foolish, if the cli- gas masks and holding rifles mate stays as it is, to turn strictions similar to those im- Two demonstrators and five with fixed bayonets, the integra- them loose in this inferno down posed after an outbreak of National Guardsmen were in- tionists squatted in the street here," he said.
    [Show full text]
  • The Artist and the American Land
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c.
    [Show full text]
  • Contemporary Collection
    TAKE A LOOK TAKE Mickalene Thomas (American, born 1971) Naomi Looking Forward #2, 2016 Rhinestones, acrylic, enamel and oil on wood panel 84 × 132 in. (213.4 × 335.3 cm) Purchase, acquired through the generosity of the Contemporary and Modern Art Council of the Norton Museum of Art, 2016.245a-b © 2018 Mickalene Thomas / Artists Rights Society (ARS), New York norton.org A CLOSER LOOK contemporary collection Mickalene Thomas Naomi Looking Forward #2, 2016 ABOUT The Artwork The Artist Naomi Looking Forward #2 portrays the supermodel Naomi Mickalene Thomas was born in 1971 in Camden, New Jersey. Campbell reclining on a couch, supporting her raised torso She studied art at the Pratt Institute in Brooklyn, New York, on her left elbow. The pose recalls many paintings of women before earning her Masters of Fine Art degree from Yale from the Renaissance to the present. However, as Naomi University in 2002. During the past decade, Thomas has twists to look to the right, her right hand pulls her left leg up received numerous honors and awards, and her artwork has over her right leg. Curiously, the calves and feet are distinctly been exhibited and collected by museums around the world. paler than Naomi. In fact, they are a photographic detail She lives and works in Brooklyn, New York. of a famous painting in the Louvre Museum in Paris, the Her compelling, lavishly executed paintings and photographs Grand Odalisque by 19th-century French artist Jean Auguste explore gender and race. Through her understanding of Dominique Ingres (pronounced “Ang”). By painting a fully art history, Thomas often juxtaposes classic, European clothed, extremely successful African-American woman in representations of beauty, such as the reclining figure, with the pose of an earlier nude, Thomas appropriates a long- more modern concepts of what it means to be a woman.
    [Show full text]
  • The Hammer Museum and Art + Practice Present Two Concurrent Exhibitions of Njideka Akunyili Crosby (B
    The Hammer Museum and Art + Practice present two concurrent exhibitions of Njideka Akunyili Crosby (b. 1983, Enugu, Nigeria), the first solo exhibitions of the artist’s work in Los Angeles. Her large scale works on paper combine collage, drawing, painting, and printmaking, fusing African and American influences and creative traditions. Reflecting on her Nigerian heritage, contemporary postcolonial African cosmopolitanism, and her experiences as an expatriate in the United States where she has lived since 1999, Akunyili Crosby’s paintings provide an important counter-narrative to the often-troubled representation of Africa’s complex political and social conditions. Curated by Hammer assistant curator Jamillah James, Njideka Akunyili Crosby: The Beautyful Ones will be on view September 12 – November 21, 2015 at Art + Practice in Leimert Park. Hammer Projects: Njideka Akunyili Crosby will be on view October 3, 2015 – January 10, 2016 at the Hammer Museum. Also on view concurrently with The Beautyful Ones is a presentation of two films by Akosua Adoma Owusu in the project room at Art + Practice. The program will include the award-winning film, Kwaku Ananse (2013), about a young American woman’s travels to Ghana for a family emergency, and the experimental short Intermittent Delight (2007), which combines upbeat Ghanaian dance music with imagery of labor, domesticity, and leisure. “Inspired by the success of our concurrent Charles Gaines exhibitions this past spring, we wanted to continue with a joint presentation of exhibitions at the Hammer and Art + Practice,” said Hammer Museum Director Ann Philbin. “This selection of early and more recent paintings of Njideka Akunyili Crosby will resonate in both communities.” Co-founder of Art + Practice Mark Bradford added, “Leimert Park is a rich cultural community that will welcome the opportunity to see the work of a young African contemporary artist.” Hammer Projects: Njideka Akunyili Crosby is comprised of a selection of the artist’s early works that primarily focus on the figure.
    [Show full text]
  • In the Zone with Dance Theatre of Harlem by Lynn Matluck Brooks
    Photo: Rachel Neville In the Zone with Dance Theatre of Harlem by Lynn Matluck Brooks Although they were playing in Philadelphia directly opposite Alvin Ailey American Dance Theater—a company that competes for similar audiences—Dance Theatre of Harlem (DTH) drew a full house at the Annenberg Center (University of Pennsylvania). In that house on Saturday evening was the founder of Philadelphia Dance Company (PHILADANCO), Joan Myers Brown, who has ignited generations of dancers, particularly black dancers, in this city. Brown received a warm ovation when one of her former dancers, Robert Garland, acknowledged her from the Annenberg stage. Garland, DTH’s first Resident Choreographer, graciously acknowledged his Philly roots, his family, and his start with ’Danco. He then shared with the audience that the dancers from DTH and Ailey had gathered earlier with Brown and ’Danco to celebrate Brown’s contributions to their artistic trajectories and to the art of dance in Philly and beyond. That mood of warm, familial celebration set us up for the dancing that followed. Thus, it was apt that Garland chose to premiere his new work, Nyman String Quartet No. 2, in Philadelphia, as the program-opener. The work mixed contrasting signals that I found difficult to reconcile: the ten dancers wore lush pink-and-purple costumes and flashed showy, virtuosic dance phrases, set against the minimalist shifts of Nyman’s music and the stripped-to-the-bare-walls backstage and wings. Oddly, the extra space this staging choice allowed the dancers—who certainly can move big!—remained unused, essentially unacknowledged. Garland sent the dancers onto the stage in varied groupings that alternated and occasionally intermixed boogie with batterie, bopping with bourrees, hip thrusts and shoulder circles with split-leaps and chasses.
    [Show full text]
  • NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents
    NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents 1 Message from the Chair The National Building Museum explores the world and the Executive Director we build for ourselves—from our homes, skyscrapers and public buildings to our parks, bridges and cities. 2 Exhibitions Through exhibitions, education programs and publications, the Museum seeks to educate the 12 Education public about American achievements in architecture, design, engineering, urban planning, and construction. 20 Museum Services The Museum is supported by contributions from 22 Development individuals, corporations, foundations, associations, and public agencies. The federal government oversees and maintains the Museum’s historic building. 24 Contributors 30 Financial Report 34 Volunteers and Staff cover / Looking Skyward in Atrium, Hyatt Regency Atlanta, Georgia, John Portman, 1967. Photograph by Michael Portman. Courtesy John Portman & Associates. From Up, Down, Across. NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 The 2003 Festival of the Building Arts drew the largest crowd for any single event in Museum history, with nearly 6,000 people coming to enjoy the free demonstrations “The National Building Museum is one of the and hands-on activities. (For more information on the festival, see most strikingly designed spaces in the District. page 16.) Photo by Liz Roll But it has a lot more to offer than nice sightlines. The Museum also offers hundreds of educational programs and lectures for all ages.” —Atlanta Business Chronicle, October 4, 2002 MESSAGE FROM THE CHAIR AND THE EXECUTIVE DIRECTOR responsibility they are taking in creating environmentally-friendly places. Other lecture programs, including a panel discus- sion with I.M. Pei and Leslie Robertson, appealed to diverse audiences.
    [Show full text]
  • Blueprintsvolume XXVII, No
    blueprintsVolume XXVII, No. 1–2 NATIONAL BUILDING MUSEUM In Between: The Other Pieces of the Green Puzzle in this issue: HEALTHY Communities, GREEN Communities Word s ,Word s ,Word s Winter & Spring 2008/2009 The Lay of the Landscape Annual Report 2008 in this issue... 2 8 13 18 19 21 23 In Between: The Other Pieces of the Green Puzzle The exhibition Green Community calls attention to important aspects of sustainable design and planning that are sometimes overshadowed by eye-catching works of architecture. The environmental implications of transportation systems, public services, recreational spaces, and other elements of infrastructure must be carefully considered in order to create responsible and livable communities. This issue of Blueprints focuses on the broad environmental imperative from the standpoints of public health, urban and town planning, and landscape architecture. Contents Healthy Communities, ! 2 Green Communities M Cardboard Reinvented Physician Howard Frumkin, of the Centers for Disease Cardboard: one person’s trash is another Control and Prevention, brings his diverse expertise as B an internist, an environmental and occupational health N person’s decorative sculpture, pen and pencil expert, and an epidemiologist to bear on the public health holder, vase, bowl, photo and business card holder, above: Beaverton Round, in suburban Portland, Oregon, was built as part of the metropolitan area’s Transit-Oriented Development Program. implications of community design and planning. p Photo courtesy of the American Planning Association and Portland Metro. stress toy, or whatever you can imagine. Bring out your o Creating Sustainable Landscapes creativity with these durable, versatile, eco-friendly LIQUID h CARDBOARD vases that can be transformed into a myriad from the executive director 8 In an interview, landscape architect Len Hopper discusses s his profession’s inherent commitment to sustainability and of shapes for a variety of uses in your home.
    [Show full text]