“To Do Real and Permanent Good in This World.” Andrew Carnegie, the Gospel of Wealth, 1900 Contents
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Richard V. Allen Papers
http://oac.cdlib.org/findaid/ark:/13030/kt696nf2n3 No online items Register of the Richard V. Allen papers Finding aid prepared by Hoover Institution Library and Archives Staff Hoover Institution Library and Archives © 2009, 2016 434 Galvez Mall Stanford University Stanford, CA 94305-6003 [email protected] URL: http://www.hoover.org/library-and-archives Register of the Richard V. Allen 2007C17 1 papers Title: Richard V. Allen papers Date (inclusive): 1948-1999 Collection Number: 2007C17 Contributing Institution: Hoover Institution Library and Archives Language of Material: English Physical Description: 123 manuscript boxes, 9 oversize boxes(59.1 Linear Feet) Abstract: Contains correspondence, speeches, interviews, legal files, subject files, photographs, audio and video recordings, clippings, and notes relating to Allen's work in American politics and government. As a specialist in security and foreign policy, Allen worked on the Nixon and Reagan campaigns and held posts on the National Security Council under each of them. Topics of note include: Ronald Reagan, George H. W. Bush, Richard Nixon, foreign policy, national security, political campaigns, Iran hostage crisis, Republican National Committee, libel and media abuses, Korea, and Taiwan. Creator: Allen, Richard V. Hoover Institution Library & Archives Access Boxes 3, 13-18, 36-42, 51-53, 60-61, 77, 85-88, and an audiocassette in Box 105 closed during the lifetime of Richard V. Allen. The remainder of the collection is open for research; materials must be requested at least two business days in advance of intended use. Publication Rights For copyright status, please contact the Hoover Institution Library & Archives. Acquisition Information Acquired by the Hoover Institution Library & Archives. -
Paintings by John W. Alexander ; Sculpture by Chester Beach
SPECIAL EXHIBITIONS THE ART INSTITUTE OF CHICAGO, DECEMBER 12 1916 TO JANUARY 2, 1917 PAINTINGS BY JOHN W. ALEXANDER SCULPTURE BY CHESTER BEACH PAINTINGS BY CALIFORNIA ARTISTS PAINTINGS BY WILSON IRVINE PAINTINGS BY EDWARD W. REDFIELD PAINTINGS, DRAWINGS AND SKETCHES BY MAURICE STERNE 0 SPECIAL EXHIBITIONS OF WORK BY THE FOLLOWING ARTISTS PAINTINGS BY JOHN W. ALEXANDER SCULPTURE BY CHESTER BEACH PAINTINGS BY CALIFORNIA ARTISTS PAINTINGS BY WILSON IRVINE PAINTINGS BY EDWARD W. REDFIELD PAINTINGS, DRAWINGS AND SKETCHES BY MAURICE STERNE THE ART INSTITUTE OF CHICAGO DEC. 12, 1916 TO JAN. 2, 1917 PAINTINGS BY JOHN WHITE ALEXANDER OHN vV. ALEXANDER. Born, Pittsburgh, J Pennsylvania, 1856. Died, New York, May 31, 1915. Studied at the Royal Academy, Munich, and with Frank Duveneck. Societaire of Societe Nationale des Beaux Arts, Paris; Member of the International Society of Sculptors, Painters and Gravers, London; Societe Nouvelle, Paris ; Societaire of the Royal Society of Fine Arts, Brussels; President of the National Academy of Design, New York; President of the Natiomrl Academy Association; President of the National Society of Mural Painters, New York; Ex- President of the National Institute of Arts and Letters, New York; American Academy of Arts and Letters; Vice-President of the National Fine Arts Federation, Washington, D. C.; Member of the Architectural League, Fine Arts Federation and Fine Arts Society, New York; Honorary Member of the Secession Society, Munich, and of the Secession Society, Vienna; Hon- orary Member of the Royal Society of British Artists, of the American Institute of Architects and of the New York Society of Illustrators; President of the School Art League, New York; Trustee of the New York Public Library; Ex-President of the MacDowell Club, New York; Trustee of the Metropolitan Museum of Art; Trustee of the American Academy in Rome; Chevalier of the Legion of Honor, France; Honorary Degree of Master of Arts, Princeton University, 1892, and of Doctor of Literature, Princeton, 1909. -
Milch Galleries
THE MILCH GALLERIES YORK THE MILCH GALLERIES IMPORTANT WORKS IN PAINTINGS AND SCULPTURE BY LEADING AMERICAN ARTISTS 108 WEST 57TH STREET NEW YORK CITY Edition limited to One Thousand copies This copy is No 1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET FOREWORD This little booklet, similar in character to the one we pub lished last year, deals with another group of painters and sculp tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and sculptures of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members. -
CLASSROOM | 9-12 Lessons
CLASSROOM | 9-12 Lessons : JIMMY CARTER AND THE IRANIAN HOSTAGE CRISIS President Carter announces sanctions against Iran in the White House Press Room. Jimmy Carter Library Jimmy Carter would say later, “No matter who was with me, we watched the big grandfather clock by the door.” Time was running out, for it was Tuesday, January 20, 1981. The scene was the Oval Office. In just hours this president would leave it for good, and a new leader, Ronald Reagan, would move in. As the clock ticked the time away, Carter tried to resolve a crisis that had almost destroyed his presidency. He was close, very close, and as he said, “At stake were the lives of 52 precious human beings who had been imprisoned in Iran for 444 days–and almost 12 billion dollars of Iranian assets.” 1 Prelude The beginnings of this crisis preceded Jimmy Carter’s term by almost thirty years. For that long, the United States had provided political support and, more recently, massive military assistance to the government of the shah of Iran. Iran was important because it provided oil to the industrial West and separated the Soviet Union from the Persian Gulf and the oil states. The United States had an enormous stake in keeping it stable and independent. By 1979, however, when Carter had been in office three years, the shah was in trouble, reaping the harvest of years of brutal and unpopular policies, including the use of secret police that controlled dissent with arbitrary arrests and torture.2 It was clear that the shah had lost the (next page) White House Historical Association | http://www.whha.org | Pg. -
Pablo Picasso (Spanish, 1881 - 1973)
Pablo Picasso (Spanish, 1881 - 1973) Pablo Picasso is considered to be the greatest artist of the 20th century, the Grand Master primo assoluto of Modernism, and a singular force whose work and discoveries in the realm of the visual have informed and influenced nearly every artist of the 20th century. It has often been said that an artist of Picasso’s genius only comes along every 500 years, and that he is the only artist of our time who stands up to comparison with da Vinci, Michelangelo, and Raphael – the grand triumvirate of the Italian Renaissance. Given Picasso’s forays into Symbolism, Primitivism, neo-Classicism, Surrealism, sculpture, collage, found-object art, printmaking, and post-WWII contemporary art, art history generally regards his pioneering of Cubism to have been his landmark achievement in visual phenomenology. With Cubism, we have, for the first time, pictorial art on a two-dimensional surface (paper or canvas) which obtains to the fourth dimension – namely the passage of Time emanating from a pictorial art. If Picasso is the ‘big man on campus’ of 20th century Modernism, it’s because his analysis of subjects like figures and portraits could be ‘shattered’ cubistically and re-arranged into ‘facets’ that visually revolved around themselves, giving the viewer the experience of seeing a painting in the round – all 360º – as if a flat work of art were a sculpture, around which one walks to see its every side. Inherent in sculpture, it was miraculous at the time that Picasso could create this same in-the-round effect in painting and drawing, a revolution in visual arts and optics. -
Rebecca Horn Introduction of Works
REBECCA HORN INTRODUCTION OF WORKS • Parrot Circle, 2011, brass, parrot feathers, motor t = 28 cm, Ø 67 cm | d = 11 in, Ø 26 1/3 in Since the early 1970s, Rebecca Horn (born 1944 in Michelstadt, Germany) has developed an autonomous, internationally renowned position beyond all conceptual, minimalist trends. Her work ranges from sculptural en- vironments, installations and drawings to video and performance and manifests abundance, theatricality, sensuality, poetry, feminism and body art. While she mainly explored the relationship between body and space in her early performances, that she explored the relationship between body and space, the human body was replaced by kinetic sculptures in her later work. The element of physical danger is a lasting topic that pervades the artist’s entire oeuvre. Thus, her Peacock Machine—the artist’s contribu- tion to documenta 7 in 1982—has been called a martial work of art. The monumental wheel expands slowly, but instead of feathers, its metal keels are adorned with weapon-like arrowheads. Having studied in Hamburg and London, Rebecca Horn herself taught at the University of the Arts in Berlin for almost two decades beginning in 1989. In 1972 she was the youngest artist to be invited by curator Harald Szeemann to present her work in documenta 5. Her work was later also included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1997). Throughout her career she has received numerous awards, including Kunstpreis der Böttcherstraße (1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016) and, most recently, the Wilhelm Lehmbruck Prize (2017). -
Eduardo Chillida
Press Release Eduardo Chillida Hauser & Wirth New York, 69th Street 30 April – 27 July 2018 Private view: Monday 30 April, 6 – 8 pm The bird is one of the signs of space, each one of Chillida’s sculptures represents, much like the bird, a sign of space; each one of them says a different thing: the iron says wind, the wood says song, the alabaster says light yet they all say the same thing: space. A rumor of limits, a coarse song; the wind, an ancient name of the spirit, blows and spins tirelessly in the house of space. – Octavio Paz New York… Hauser & Wirth is pleased to present its inaugural exhibition of works by Eduardo Chillida (1924 – 2002), Spain’s foremost sculptor of the twentieth century. Widely recognized for monumental iron and steel public sculptures displayed across the globe, Chillida is also celebrated for a wholly distinctive use of materials such as stone, chamotte clay, and paper to engage concerns both earthly and metaphysical. On view from 30 April through 27 July 2018, this exhibition showcases the artist’s varied and innovative practice through a focused presentation of rarely displayed works, including small-scale sculptures, collages, drawings, and artist books that shed new light on Chillida’s enduring fascination with space and organic form. Originally a student of architecture in Madrid, Chillida created art guided by its principles; his early interest in the field had a lasting impact on his development as an artist, shaping his understanding of spatial relationships and sparking what would become a deep-rooted interest in making space visible through a consideration of the forms surrounding it. -
1947 Drops out of Architecture School to Study Drawing at the Círculo De Bellas Artes in Madrid. Works in José Martínez Repul
1947 Drops out of architecture school to study drawing at the Círculo de Bellas Artes in Madrid. Works in José Martínez Repullés's sculpture studio, where he creates his first sculpture. 1948 Moves to Paris, where he forges a friendship with artist Pablo Palazuelo. 1949 Participates in the Salon de Mai in Paris. 1950 Takes part in the exhibition Les mains éblouiesat Galerie Maeght in Paris. Marries Pilar Belzunce. 1951 Returns to the Spanish province of Guipúzcoa, settling in Hernani. Creates his first work in bronze. 1954 Has his first solo exhibition in Spain, at Galería Clan in Madrid. Creates four doors for the Basílica Nuestra Señora de Aránzazu in Oñate, Spain. 1955 The Kunsthalle Bern presents an exhibition of his work. 1956 Exhibits at Galerie Maeght in Paris. 1958 Receives the International Grand Prize for Sculpture at the XXIX Biennale di Venezia. Chillida's work is featured in Sculpture and Drawings from Seven Sculptors at the Solomon R. Guggenheim Museum in New York. Receives the Graham Foundation Award and exhibits at the Graham Foundation in Chicago. 1959 Participates in Documenta 2 in Kassel, Germany. Creates his first etchings, first works in wood, and first works in steel. 1960 Receives the Kandinsky Prize, awarded by the “ArtChronika” Cultural Fund. Forges a friendship with sculptor Alberto Giacometti. 1961 Exhibits at Galerie Maeght in Paris. 1964 Receives the Carnegie Prize, awarded by the Carnegie Museum of Art in Pittsburgh. 1965 Exhibits at Tunnard Gallery in London and the Kestnergesellschaft Hannover. 1966 The Museum of Fine Arts in Houston organizes a retrospective exhibition of Chillida's work. -
Autumn 2020 FILM and TELEVISION DEALS Spellslinger Series – Sebastien De Castell Marge in Charge Series – Isla Fisher We Were Liars – E
Rights Guide Autumn 2020 FILM AND TELEVISION DEALS Spellslinger series – Sebastien de Castell Marge in Charge series – Isla Fisher We Were Liars – E. Lockhart Love Letters to the Dead – Ava Dellaira Cell 7 – Kerry Drewery CONTENTS Our Chemical Hearts – Krystal Sutherland Frogkisser! – Garth Nix YOUNG ADULT 4 S.T.A.G.S. – M. A. Bennett TEEN 14 The Cruel Prince (Folk of the Air) series – Holly Black NINE TO TWELVE 21 Charlie and Me – Mark Lowery ILLUSTRATED FICTION 30 The Boy Who Grew Dragons – Andy Shepherd PICTURE BOOKS 38 The Girl Who Drank the Moon – Kelly Barnhill ANTHOLOGY 40 Iremonger series - Heap House, Foulsham, Lungdon – Edward Carey NON-FICTION 41 Birdy – Jess Vallance BACKLIST 46 Stepsister – Jennifer Donnelly Genuine Fraud – E. Lockhart The Wild Robot – Peter Brown Enola Holmes – Nancy Springer 36 Questions That Changed My Mind About You – Vicki Grant The Ghost Bride – Yangsze Choo The Last Human – Lee Bacon The Distance Between Me and the Cherry Tree – Paola Peretti With the Fire on High – Elizabeth Acevedo The Witch’s Boy – Kelly Barnhill The Tattooist of Auschwitz – Heather Morris The Red Ribbon – Lucy Adlington The Old Kingdom series – Garth Nix Perfectly Preventable Deaths – Deirdre Sullivan A Semi-Definitive List of Worst Nightmares – Krystal Sutherland The Keys to the Kingdom series – Garth Nix Night Shift - Debi Gliori 3 YOUNG ADULT YOUNG ADULT Chris Whitaker Yasmin Rahman THE FOREVERS THIS IS MY TRUTH What would you do if you could get There are some secrets that even best away with anything? friends don’t tell each other . They called it Selena. -
New York Times 7 November 2004 P. AR 23 up Close and Very Personal
New York Times 7 November 2004 p. AR 23 Up Close and Very Personal, for Hours and Hours By LINDA YABLONSKY Kutlug Ataman may be the only video artist alive who really wishes that people would not sit all the way through his work. Chances are slim, however, that many would try. His videos, essentially interior portraits of unusual personalities, can be eight hours long. What's more, they unfold in a potentially mind-numbing format restricted to talking heads, on as many as 40 screens at once. Not only do the screens face in different directions, they are also not always in the same room - or even in the same part of town. "You watch for a half-hour or whatever, and if you are interested maybe you will come back at another time and make your own montage, out of snippets," Mr. Ataman said recently. "That is my work - it's for you to experience not being able to access the whole thing." This intensely subjective and demanding art is bringing Mr. Ataman, 43, growing international attention. In recent years, his work has captivated viewers at biennials in Venice, Istanbul and São Paulo and at Documenta, the international group exhibition in Kassel, Germany. Last month, soon after being shortlisted for the Tate Gallery's prestigious Turner Prize in London, he won the Carnegie Prize in Pittsburgh for "Küba," a new video work in the current Carnegie International biennial. "I'm not a genius, I just work hard," Mr. Ataman said in an interview at the Lehmann Maupin Gallery in Chelsea, where another new piece, "Stefan's Room," was presented last month. -
GPO-CRECB-1992-Pt3-2.Pdf
February 24, 1992 CONGRESSIONAL RECORD-HOUSE 8159 HOUSE OF REPRESENTATIVES-Monday, February 24, 1992 The House met at 12 noon. But I think it also goes back to some PROGRAM The Chaplain, Rev. James David of the legislation passed in this body Opening: Arnold Goldstein, Superintend Ford, D.D., offered the following pray and the other body on title IX and ent, National Capital Parks-Central, Na er: some of the efforts that we have made tional Park Service. Presentation of the Colors: Joint Armed Teach us in all our ways, 0 God, to to make sure that Federal money is Services Color Guard, Military District of look upon others with the respect and spent equally on men and women ath Washington. honor that is due every person. We letes in the various programs that are "The National Anthem" : U.S. Air Force admit our disagreements and conflicts, sanctioned at the college level. Band, Chief Master Sgt. Alan Sine, Director. our disputes and quarrels, and yet we Mr. Speaker, certainly we want to Welcome by the Master of Ceremonies: Ar acknowledge You as the Creator and give tribute to our Olympic women and nold Goldstein, Superintendent, National Judge of the whole human family, a to all of the young Bonnie Blairs and Capital Parks-Central, National Park Serv ice. family bound together by Your gift of Kristi Yamaguchis who watched these Remarks: Honorable Russell E. Train, life and Your sustaining spirit. May Olympics and will be our Olympians in First Vice President, Washington National the spirit of tolerance mark our voices future years. -
The Museum of Modern Art
The Museum of Modern Art For Immediate Release November 1991 RICHARD SERRA: AFANGAR ICELANDIC SERIES November 26, 1991 - March 24, 1992 Richard Serra's most ambitious set of prints to date, made to celebrate the twenty-fifth anniversary of Gemini G.E.L., are the subject of an exhibition at The Museum of Modern Art opening on November 26, 1991. Organized by Riva Castleman, director of the Department of Prints and Illustrated Books, RICHARD SERRA: AFANGAR ICELANDIC SERIES is the first exhibition of the project, which consists of more than a dozen heavily encrusted etchings that the artist calls intaglio constructions. The works in the series employ the visual vocabulary of a recent project of Serra's in which he had wery tall monoliths of Icelandic basalt placed in pairs along the perimeter of a small island near Reykjavik. In the etchings, made at Gemini G.E.L. in Los Angeles in 1991, densely black forms have been printed on roughly textured paper affixed in the printing process to two layers of Oriental paper. These imposing images loom upward from the lower edges of the sheets, starkly evoking the environment that inspired them. The exhibition continues through March 24, 1992. Richard Serra was born in San Francisco, California, in 1939. He studied at the Berkeley and Santa Barbara campuses of the University of California, graduating with a B.S. in English Literature in 1961. In 1964 he earned an M.F.A. from Yale University, where he had worked with Josef Albers on his historic book The Interaction of Color.