DOCSLIB.ORG

Press Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Press Release Press Release For Immediate Release Media Contact Karen Schwarz Interim Director of Marketing and Communications 203 413-6735 | [email protected] Bruce Museum to Honor Art World Luminaries at Fifth Annual Bruce Museum Icon Awards in the Arts Thursday, May 22, 2014 Artist James Turrell at Roden Crater; Photograph by Florian Holzherr; © James Turrell; Photo may not be cropped GREENWICH, CT, May 8, 2014 – The Bruce Museum will recognize the accomplishments and contributions of nine distinguished figures in the art world at the Museum’s fifth annual Icon Awards in the Arts benefit on Thursday, May 22. “We are delighted to recognize these distinguished figures from the art world who do so much to enrich all of our cultural lives,” says Peter C. Sutton, Executive Director of the Bruce Museum. The honorees include accomplished individuals in seven categories: Artists, Patrons, Collectors, Historians, Art Consultants, Art Dealers and Museum Professionals. This year’s honorees include internationally acclaimed light and space artist James Turrell, whose work can be found in collections and major museum exhibitions worldwide as well as at two sites in Greenwich, and the renowned museum professional Philippe de Montebello, who retired in 2008 as the longest serving director of New York’s Metropolitan Museum of Art. Robert Storr, former curator at the Museum of Modern Art, New York, highly regarded teacher, editor, lecturer, and current consulting curator at the Philadelphia Museum of Art will be honored as historian. In addition, awards will go to Bruce Museum patrons Beverly and John Watling of Greenwich, passionate collectors Lisa and Steven Tananbaum, art consultant Amy Cappellazzo, and art dealer Stuart P. Feld of Hirschl & Adler Galleries. Page 1 of 5 Press Release Proceeds from the Bruce Museum Icon Awards 2014 will benefit exhibitions and educational programs at the Bruce Museum of Greenwich, Connecticut. Co-chaired by Pam and Bob Goergen, the gala event will be hosted at an elegant Greenwich home. Cocktails will be served at 5:30 pm followed by the Awards presentation at 6:30 pm. For additional information, including ticket information, email or call Becky Conelias at (203)413-6745 or [email protected]. For a direct link to ticket information, go to https://iconawards2014.eventbrite.com. About the Bruce Museum The Bruce Museum is a museum of art and science and is located at One Museum Drive in Greenwich, Connecticut. The Museum is open Tuesday through Saturday from 10 am to 5 pm and Sunday from 1 pm to 5 pm; closed Mondays and major holidays. Admission is $7 for adults, $6 for students up to 22 years, $6 for seniors and free for members and children less than five years. Individual admission is free on Tuesday. Free on-site parking is available and the Museum is accessible to individuals with disabilities. For additional information, call the Bruce Museum at (203) 869-0376 or visit the website at brucemuseum.org Additional Background on Bruce Museum Icon Awards Honorees Artist, James Turrell James Turrell is an internationally acclaimed light and space artist whose work can be found in collections worldwide. For more than four decades, he has created striking works that play with perception and the effect of light within a created space. His fascination with the phenomena of light is related to his personal, inward search for mankind’s place in the universe. Influenced by his Quaker upbringing, which he characterizes as having a “straightforward, strict presentation of the sublime,” Turrell’s art prompts greater self-awareness though a similar discipline of silent contemplation, patience, and meditation. “My work is about space and the light that inhabits it,” says Mr. Turrell. “It is about how you can confront that space and plumb it. It is about your seeing, like the wordless thought that comes from looking into a fire.” Turrell was born in Los Angeles and began his artistic career in California in the early 1960s as one of the leaders of a new group of artists working with light and space. For the past two decades, his work has been recognized in exhibitions in major museums around the world, including the Guggenheim Museum, Whitney Museum of American Art in New York, Museum of Contemporary Art, Los Angeles, San Francisco Museum of Modern Art, California and the Panza di Biumo Collection, Varese, Italy. Whether harnessing the light at sunset or transforming the glow of a television set into a fluctuating portal, Turrell’s art places viewers in a realm of pure experience. His large-scale, often architectural works incorporate the complex interplay of sky, light and atmosphere in motion across expanses of ocean, desert, and city. The recipient of several prestigious awards such as the Guggenheim and MacArthur Fellowships, Turrell currently resides in Flagstaff, Arizona, in order to oversee the completion of his most important work, a monumental land art project at Roden Crater, an extinct volcano the artist has been transforming into a naked-eye celestial observatory for the past 33 years. Museum Professional, Philippe de Montebello Philippe de Montebello has the distinct title of having been the longest-serving director in the 140-year-long history of New York’s Metropolitan Museum of Art. In 2008, Mr. de Montebello retired from the Met after 31 years. The curators of the Metropolitan paid homage to Mr. de Montebello by mounting a tribute exhibition in 2008, The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions. Page 2 of 5 Press Release Following his retirement, Mr. de Montebello became the first scholar in residence at the Prado Museum in Madrid, and he launched a new academic career as the first Fiske Kimball Professor in the History and Culture of Museums at the Institute of Fine Arts of New York University. Mr.de Montebello is the television co-host with Paula Zahn of the Emmy Award winning WNET/PBS weekly series NYCArts. In 2008 Mr. de Montebello was elected to the Board of Trustees of the Musée d'Orsay in Paris and in 2012 he was elected Honorary Trustee of the Prado Museum in Madrid. In 2012 he was elected to the French Académie des Beaux Arts. Mr. de Montebello was born in Paris and after the baccalauréat he attended Harvard College and the Institute of Fine Arts, NYU. With the exception of four years as director of the Museum of Fine Arts, Houston, he has spent his entire career at the Metropolitan Museum of Art, first as curator in the Department of European Paintings, later as Chief Curator and, from 1977 until 2008, as its Director. In 2003 President G.W. Bush awarded Mr. de Montebello the National Medal of the Arts and in 2009, President Barack Obama awarded him the National Medal of the Humanities. Mr. de Montebello is only the fourth person to have received both these awards. Mr. de Montebello has an honorary degree from Harvard University. In 1996, Philippe de Montebello was declared a Living Landmark by New York City’s Landmarks Commission. Historian, Robert Storr Mr. Storr received a BA from Swarthmore College in 1972 and an MFA from the School of the Art Institute of Chicago in 1978. He was curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York, from 1990 to 2002, where he organized exhibitions on Elizabeth Murray, Gerhard Richter, Max Beckmann, Tony Smith, and Robert Ryman, in addition to coordinating the Projects series from 1990 to 2000. In 2002 he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. Mr. Storr has also taught at the CUNY graduate center and the Bard Center for Curatorial Studies as well as the Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University, and has been a frequent lecturer in this country and abroad. He has been a contributing editor at Art in America since 1981 and writes frequently for Artforum, Parkett, Art Press (Paris), and Frieze (London). He has written numerous catalogs, articles, and books, including Philip Guston (Abbeville, 1986), Chuck Close (with Lisa Lyons, Rizzoli, 1987), and the forthcoming Intimate Geometries: The Work and Life of Louise Bourgeois. Among his many honors he has received a Penny McCall Foundation Grant for painting, a Norton Family Foundation Curator Grant, and honorary doctorates from the School of the Art Institute of Chicago and the Maine College of Art, as well as awards from the American Chapter of the International Association of Art Critics, a special AICA award for Distinguished Contribution to the Field of Art Criticism, an ICI Agnes Gund Curatorial Award, and the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History from the Smithsonian Institution’s Archives of American Art. In 2000 the French Ministry of Culture presented him with the medal of Chevalier des Arts et des Lettres. He is currently Consulting Curator of Modern and Contemporary Art at the Philadelphia Museum of Art, and the commissioner of the 2007 Venice Biennale, the first American invited to assume that position. Mr. Storr was appointed professor of painting/printmaking and dean of the School of Art in 2006. Patrons, John and Beverly Watling Beverly and John Watling have lived in Greenwich since 1962, and have been longtime members of the Bruce Museum. In 2001 John joined the Museum’s Development Committee, and first joined the Board of the Bruce Museum in 2002. He serves on the Museum’s Development and Audit Committees, is a former member of the Executive Committee and has spearheaded two highly successful fundraising efforts for the Museum: he offered Page 3 of 5 Press Release a matching gift challenge to Robert Bruce Circle members for the Great Estates (2001) exhibition which led to the development of the highly successful Committee of Honor program for the underwriting of exhibitions.
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Art and Politics: a Small History of Art for Social Change Since 1945 Free
    FREE ART AND POLITICS: A SMALL HISTORY OF ART FOR SOCIAL CHANGE SINCE 1945 PDF Claudia Mesch | 224 pages | 15 Oct 2013 | I.B.Tauris & Co Ltd | 9781848851108 | English | London, United Kingdom 15 Influential Political Art Pieces | Widewalls What is political art? Is it different than the art itself and could it be the art beside the politics, as we know the political truth is the ruling mechanism over all aspects of humanity? From its beginnings, art is inseparable from the societies and throughout its history authors always reflected the present moment bringing the artistic truth to the general public. For Plato and Aristotle, mimesis - the act of artistic creation is inseparable from the notion of real world, in which art represents or rather disputes the various models of beauty, truth, and the good within the societal reality. Hence, position of the art sphere is semi- autonomous, as it is independent field of creation freed from the rules, function and norms, but on the other hand, art world is deeply connected and dependent from artistic productionways of curating and display as well as socio-economical conditions and political context. In times of big political changes, many art and cultural workers choose to reflect the context within their artistic practices and consequently to create politically and socially engaged art. Art could be connected to politics in many different ways, and the field of politically engaged art is rather broad and rich than a homogenous term reducible to political propaganda. There are many strategies to reach the state of political engagement in art and it includes the wide scale of artistic interventions from bare gestures to complex conceptual pieces with direct political engagement intended to factual political changes.
    [Show full text]
  • The Creative Arts at Brandeis by Karen Klein
    The Creative Arts at Brandeis by Karen Klein The University’s early, ardent, and exceptional support for the arts may be showing signs of a renaissance. If you drive onto the Brandeis campus humanities, social sciences, and in late March or April, you will see natural sciences. Brandeis’s brightly colored banners along the “significant deviation” was to add a peripheral road. Their white squiggle fourth area to its core: music, theater denotes the Creative Arts Festival, 10 arts, fine arts. The School of Music, days full of drama, comedy, dance, art Drama, and Fine Arts opened in 1949 exhibitions, poetry readings, and with one teacher, Erwin Bodky, a music, organized with blessed musician and an authority on Bach’s persistence by Elaine Wong, associate keyboard works. By 1952, several Leonard dean of arts and sciences. Most of the pioneering faculty had joined the Leonard Bernstein, 1952 work is by students, but some staff and School of Creative Arts, as it came to faculty also participate, as well as a be known, and concentrations were few outside artists: an expert in East available in the three areas. All Asian calligraphy running a workshop, students, however, were required to for example, or performances from take some creative arts and according MOMIX, a professional dance troupe. to Sachar, “we were one of the few The Wish-Water Cycle, brainchild of colleges to include this area in its Robin Dash, visiting scholar/artist in requirements. In most established the Humanities Interdisciplinary universities, the arts were still Program, transforms the Volen Plaza struggling to attain respectability as an into a rainbow of participants’ wishes academic discipline.” floating in bowls of colored water: “I wish poverty was a thing of the past,” But at newly founded Brandeis, the “wooden spoons and close friends for arts were central to its mission.
    [Show full text]
  • The Surprising Tale of One of Frank Stella's Black Paintings
    The Surprising Tale of One of Frank Stellaʼs Black Paintings - The New York Times 2/18/19, 1509 The Surprising Tale of One of Frank Stella’s Black Paintings By Ted Loos Feb. 17, 2019 At 82, the artist Frank Stella has done it all and isn’t terribly concerned what anyone thinks. He is matter-of-fact and unguarded, secure on his perch in the pantheon after two solo retrospectives at the Museum of Modern Art. He can — and did — wear white house-slippers to an interview and photo shoot. Deal with it. Mr. Stella became art-famous not long after graduating from Princeton in 1958, and he has been lauded for achievements like his early Black Paintings, with their dazzling geometric rigor and their power to inspire statements like his “What you see is what you see.” His work evolved over the decades — the brightly colored Protractor series became a landmark of contemporary art, too, and eventually his work got sculptural and very big. His studio is now in the Hudson Valley, where he goes often to make pieces that require a lot of space, like “adjoeman” (2004), a stainless steel and carbon fiber sculpture weighing some 3,000 pounds that was once featured on the roof of the Metropolitan Museum of Art. But he and his wife, Harriet McGurk, a pediatrician, live in the same three-story house in Greenwich Village that he acquired in the late 1960s. https://www.nytimes.com/2019/02/17/arts/design/frank-stella-black-p…=package&version=highlights&contentPlacement=5&pgtype=sectionfront Page 1 of 13 The Surprising Tale of One of Frank Stellaʼs Black Paintings - The New York Times 2/18/19, 1509 It’s packed with art — there are many large, midcentury abstractions by friends, peers and those he admired when he started, including Jules Olitski, Hans Hoffman and Kenneth Noland.
    [Show full text]
  • 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.
    [Show full text]
  • The Museum of Modern Art
    The Museum of Modern Art 50th Anniversary NO. 81 *o FOR IMMEDIATE RELEASE ADVANCE FACT SHEET EXHIBITION: PRINTED ART:A VIEW OF TWO DECADES DATES: The Museum of Modern Art, New York February 14-April 1, 1980 DIRECTOR: Riva Castleman, Director of the Department of Prints and Illustrated Books, The Museum of Modern Art CONTENTS: The past two decades have been unprecedented in the production of fine prints and other printed matter by leading artists. The printed image is ubiquitous in contemporary art. The silkscreens of the Pop Artists; the lithographs of the major painters of the 1960's and 1970's; the ephemeral periodicals and booklets of the Conceptualists; the etchings and engravings of the Minimalists, with their precise lines and clear colors; the images of every­ day life seen in the work of the Photo-Realists--all are, in the words of Riva Castleman, "testimony that a great part of the creative activity of this era has been directed toward the widespread communication that prints make possible." This major international survey of work in the different print mediums, a 50th Anniversary year exhibition of The Museum of Modern Art, includes more than 175 contemporary artists from Eastern and Western Europe, North and South America, and Japan. Among the artists represented in the exhibition are Josef Albers, Art & Language, Jennifer Bartlett, Joseph Beuys, Mel Bochner, Daniel Buren, Christo, Chuck Close, Jim Dine, Marcel Duchamp, Helen Frankenthaler, Richard Hamilton, David Hockney, Bryan Hunt, Jasper Johns, Alex Katz, Ellsworth Kelly, Joseph Kosuth, Les Levine, Sol LeWitt, Roy Lichtenstein, Claes Oldenburg, Philip Pearl- stein, Martial Raysse, Robert Rauschenberg, Ad Reinhardt, Ed Ruscha, Robert Ryman, Michael Snow, Soto, Frank Stella, Victor Vasarely, and Andy Warhol.
    [Show full text]
  • Newsletter 2009
    NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists.
    [Show full text]
  • 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.
    [Show full text]
  • “Life” — Sam Rein Solo Exhibition at Barrett Art Center by RAYMOND J
    Inside: Raleigh on Film; Bethune on Theatre; Behrens on Music; Marvel’s ‘Art Byte’; th Critique: Sam Rein at Barrett Art Center; Year! Seckel on the Cultural Scene; Jeanne Heiberg & John Coyne ‘Speak Out’; Our 25 New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 25 No. 6 Jan/Feb 2009 “Life” — Sam Rein Solo Exhibition at Barrett Art Center By RAYMOND J. STEINER IT’S ALWAYS A distinct pleasure sional surface alive not only to the for this viewer to come across a eye, but also to the spirit and soul. working artist from the “old school” A humanist with wit, perception, — you know, someone who can draw, and sensitivity, Sam Rein could not manipulate a paint-laden brush, have chosen a more fitting title for compose a motif, vary a ‘signature’, this solo exhibition* since “Life” so avoid a hackneyed formula that aptly reveals his long love affair with “sells”…in brief, bring a two-dimen- the pathos and bathos of the human River View Watercolor condition. This is an artist who not imagery (“Track Three”; “Table Talk only loves his craft, but who also is Al Fresco” — a charming genre piece in sympathy with the nature of be- of three oldsters conversing around ing — whether it be person, object, an outdoor table) is compelling, in- or landscape. viting the viewer to enter, to partici- Some thirty-seven works — pate in whatever is unfolding before charcoals, pastels, watercolors, the eye. Especially “present” in their gouaches, acrylics and even a pencil “thereness” — what the early Ger- drawing (“Reclining Nude, Head on man aestheticians referred to as the Hand”) — make up this show, more ding an sich (the thing in itself) — than enough to showcase Rein’s ver- are his studies of the female figure, satility in motif, genre, and in style.
    [Show full text]
  • NEA-Annual-Report-1980.Pdf
    National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1980. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1981 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Deputy Chairman’s Statement 8 Dance 10 Design Arts 32 Expansion Arts 52 Folk Arts 88 Inter-Arts 104 Literature 118 Media Arts: Film/Radio/Television 140 Museum 168 Music 200 Opera-Musical Theater 238 Program Coordination 252 Theater 256 Visual Arts 276 Policy and Planning 316 Deputy Chairman’s Statement 318 Challenge Grants 320 Endowment Fellows 331 Research 334 Special Constituencies 338 Office for Partnership 344 Artists in Education 346 Partnership Coordination 352 State Programs 358 Financial Summary 365 History of Authorizations and Appropriations 366 Chairman’s Statement The Dream... The Reality "The arts have a central, fundamental impor­ In the 15 years since 1965, the arts have begun tance to our daily lives." When those phrases to flourish all across our country, as the were presented to the Congress in 1963--the illustrations on the accompanying pages make year I came to Washington to work for Senator clear. In all of this the National Endowment Claiborne Pell and began preparing legislation serves as a vital catalyst, with states and to establish a federal arts program--they were communities, with great numbers of philanthro­ far more rhetorical than expressive of a national pic sources.
    [Show full text]
  • Dick Polich in Art History
    ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
    [Show full text]
  • Ellsworth Kelly and Andy Warhol Lead Swann Galleries' November
    FOR IMMEDIATE RELEASE Contact: Alexandra Nelson October 25, 2016 Communications Director 212-254-4710 ext. 19 [email protected] Ellsworth Kelly and Andy Warhol Lead Swann Galleries’ November Contemporary Art Auction New York— On Tuesday, November 15, Swann Galleries will hold an auction of Contemporary Art, featuring works by Chuck Close, Christo, Richard Diebenkorn, Claes Oldenburg and Cy Twombly, among others. Prime works by Pop Art king Andy Warhol include the iconic 1964 screenprint of Elizabeth Taylor, aptly titled Liz, as well as the screenprint Campbell’s Soup I: Green Pea, 1968 ($30,000 to $50,000 and $15,000 to $20,000, respectively). Also available is a sheet of sixty unpeeled Banana Stickers (The Velvet Underground & Nico), 1967, the largest amount of intact stickers related to the landmark collaboration between Warhol and The Velvet Underground ever seen at auction, estimated to sell between $8,000 to $12,000. Abstract Expressionist masters are well represented. An excellent work from Robert Motherwell’s Elegy to the Spanish Republic series titled Lament for Lorca, 1981-82, is estimated at $10,000 to $15,000. Willem de Kooning’s first lithograph with printer Irwin Hollander, Woman at Clearwater Beach, 1971, is also present. According to Hollander, the work was inspired by the artist’s “trip to Japan…the seeing and feeling of calligraphy, sumi brush and Zen”—it is expected to realize $8,000 to $12,000. There is also a run of moody works by Adolph Gottlieb. Bridging print and sculpture is Jean Dubuffet’s Parcours, 1981, an unusual scrolled screenprint on silk.
    [Show full text]