2010 Annual Report

Total Page:16

File Type:pdf, Size:1020Kb

2010 Annual Report 10 annual report 2010 annual report 2010 annual report 6 Board of Trustees 9 President and Chairman’s Report 10 Director’s Report 12 2010 Breakdown 14 Curatorial Report 17 Exhibitions 20 Publications 23 Loans 27 Acquisitions 3 5 Education and Public Programs 36 Development 40 Donors 54 Docents and Volunteers 57 Staff 60 Financial Report cover Ted Croner, Times Square Montage, 1947 (detail). Purchase, Leonard and Bebe LeVine Art Acquisition Fund. Full credit listing on p. 30. left David Lenz, Sam and the Perfect World, 2005 (detail). Purchase, with funds from the Linda and Daniel Bader Foundation, Suzanne and Richard Pieper, and Barbara Stein. Full credit listing on p. 27. Unless otherwise noted, all photographs of works in the Collection are by John R. Glembin. 6 | board of trustees Through August 31, 2010 BOARD OF TRUSTEES Mary M. Strohmaier Anthony J. Petullo Photography Committee W. Kent Velde Christine Symchych Richard R. Pieper Kevin Miyazaki Chairman Stacy G. Terris Sandra Robinson Chair Raymond R. Krueger Frederick Vogel IV Reva Shovers Carol Lewensohn Beth R. Wnuk Christine Symchych President Vice Chair Jeffery W. Yabuki Frederick Vogel III Betty Ewens Quadracci Andrew A. Ziegler Robert A. Wagner Warren Blumenthal Secretary Barbara Ciurej Danny L. Cunningham COMMITTEES OF THE ACQuisitioNS AND George A. Evans, Jr. BOARD OF TRUSTEES CollectioNS Committee Treasurer F. William Haberman Subcommittees Lindsay Lochman Frederic G. Friedman EXecutiVE Committee Decorative Arts Madeleine Lubar Assistant Secretary and Raymond R. Krueger Committee Marianne Lubar Chair Legal Counsel Constance Godfrey Cardi Smith Christopher S. Abele Members at LarGE Chair Christine Symchych Donald W. Baumgartner Christopher S. Abele Barbara Buzard Danny L. Cunningham Prints and Drawings Donald W. Baumgartner Barbara Elsner Frederic G. Friedman Committee Lori Bechthold George A. Evans, Jr. Ellen Glaisner Kent Anderson* Carol Bessler Barbara Fuldner Kenneth C. Krei Chair Randy Bryant Catharine D. Malloy Gail A. Lione A. Raymond Kehm Michael J. Cudahy Traci E. Schnell Marianne Lubar Vice Chair Curt S. Culver Nicole Teweles P. Michael Mahoney Stephen Einhorn Anne Vogel Roger L. Boerner R. Bruce McDonald Jane Fee Frederick Vogel III Lois Ehlert Lawrence W. Oliverson Julie Gardner Robert A. Wagner Laurence Eiseman, Jr. Anthony J. Petullo Ellen Glaisner Marianne Epstein Betty Ewens Quadracci Judy Gordon Earlier European Arts George A. Evans, Jr. William L. Randall Carmen Haberman Committee Julia Evans W. Kent Velde Robert Roth Patricia Jursik Jean Friedlander Chair W. David Knox II ACQuisitioNS AND Arthur A. Gebhardt Anthony S. Krausen CollectioNS Committee Geoffrey Maclay George T. Jacobi Kenneth C. Krei Marianne Lubar Vice Chair Marianne Lubar David Ritz Gail A. Lione Chair Lorraine Croft Joan Lubar George A. Evans, Jr. George A. Evans, Jr. Audit Committee Marianne Lubar Vice Chair Robert Foote R. Bruce McDonald Wayne R. Lueders Arthur J. Laskin Donald W. Baumgartner Chair P. Michael Mahoney Helen Peter Love Karen Johnson Boyd Danny L. Cunningham Catharine D. Malloy Marjorie Moon Marilyn Bradley William Hunt R. Bruce McDonald Frank A. Murn Andrea B. Bryant Stacy G. Terris Lawrence W. Oliverson Andrea Schloemer Stephen Einhorn W. Kent Velde José A. Olivieri Sally Schuler Arthur A. Gebhardt Jill G. Pelisek Kenneth Treis F. William Haberman DEVelopmeNT Anthony J. Petullo William M. Treul Anthony S. Krausen Committee William L. Randall Ellen Glaisner Sandra Robinson Arthur J. Laskin Chair Joe Sanfelippo Gail A. Lione Richard L. Schmidt, Jr. Wayne R. Lueders Frederic G. Friedman Dorothy M. Stadler Marjorie Moon Co-Chair | 2010 annual report | 7 Curt S. Culver Planned Giving George T. Jacobi INVestmeNT Committee Jean Friedlander Committee Jane L. Kaiser P. Michael Mahoney Judy Gordon Andrea B. Bryant W. David Knox II Chair Carmen Haberman Jill G. Pelisek Anthony S. Krausen Curt S. Culver A. Raymond Kehm Co-Chairs Kenneth C. Krei Mark G. Doll Gail A. Lione Donn Dresselhuys Raymond R. Krueger Richard J. Glaisner Joan Lubar Dale R. Faught Donna Meyer Raymond R. Krueger Marianne Lubar Frederic G. Friedman Lawrence W. Oliverson Wayne R. Lueders Linda Marcus Ed Hashek Betty Ewens Quadracci W. Kent Velde Jill G. Pelisek Judy Jorgensen Suzanne L. Selig Dorothy M. Stadler Sally Schuler Dorothy M. Stadler NomiNatioNS AND GoVerNANce Committee Mary M. Strohmaier Adam Wiensch Christine Symchych Frederick Vogel IV Gail A. Lione Annual Campaign EducatioN AND Public Chair Committee Facilities Committee ProGrams Committee Christopher S. Abele Andrea B. Bryant Christopher S. Abele Donald W. Baumgartner Valerie B. Clarke Donald W. Baumgartner Chair Chair Curt S. Culver Raymond R. Krueger Steven G. Chamberlin Danny L. Cunningham Kim Abler Marianne Lubar David Drent Jane Fee John Augenstein Betty Ewens Quadracci Richard J. Glaisner Sue Frautschi Natanya Blanck Suzanne L. Selig Richard L. Schmidt, Jr. Jean Friedlander Mike Brenner W. Kent Velde Frederick Vogel IV Frederic G. Friedman Thomas Buck Frederic G. Friedman José Chavez Judy Gordon FINANce Committee Ex-Officio Marlene Doerr Carmen Haberman Danny L. Cunningham Judy Jorgensen Daniel Donder Public Affairs Chair Committee A. Raymond Kehm Jane Fee David Bauer William L. Randall Anthony S. Krausen Carmen Haberman Donald W. Baumgartner Chair Kenneth C. Krei Jonathan Jackson Richard J. Glaisner Raymond R. Krueger Sarah Jerome Christine Symchych Raymond R. Krueger Gail A. Lione Janet Matthews Co-Chair Nancy Mitchell P. Michael Mahoney Joan Lubar Christopher S. Abele Phillip Naylor R. Bruce McDonald Marianne Lubar Randy Bryant Sue Nelson Jess E. Merten Sheldon B. Lubar Anthony S. Krausen José A. Olivieri W. Kent Velde R. Bruce McDonald Raymond R. Krueger Jill G. Pelisek Donna Meyer HumaN Resources Joan Lubar Betty Ewens Quadracci Joan Nason AND RemuNeratioN H. Carl Mueller Frederick Vogel IV José A. Olivieri Committee Betty Ewens Quadracci Cindy Zautcke Jill G. Pelisek Kenneth C. Krei Frederick Vogel IV Chair Anthony J. Petullo EXhibitioNS Committee William L. Randall Anthony J. Petullo Raymond R. Krueger Richard L. Schmidt, Jr. Chair P. Michael Mahoney * Deceased Sally Schuler José A. Olivieri Christopher S. Abele Suzanne L. Selig Anthony J. Petullo Karen Johnson Boyd Dorothy M. Stadler W. Kent Velde Mary M. Strohmaier Valerie B. Clarke Christine Symchych Stephen Einhorn Stacy G. Terris Jean Friedlander W. Kent Velde Carmen Haberman 2010 annual report | president and chairman’s report | 9 We are pleased to announce that, because of the prudent and resourceful business plan for fiscal year 2010, the twelve months covered by this report (September 1, 2009–August 31, 2010) saw a balanced budget for the Milwaukee Art Museum, despite a sluggish economic recovery. The enthusiasm and hard work of everyone at the Museum enabled us to reach our objectives and replenish funds utilized during the recession. We and the other Trustees of the Board extend our deepest thanks and gratitude to the Museum staff, Members, volunteers, and donor family who sacrificed in order to make ends meet. This past fiscal year welcomed a variety of exhibitions Moving forward, the Museum’s strategic plan involves Raymond R. Krueger and public programs that resulted in annual attendance addressing long-standing needs to increase the of over 322,000. That this is the highest attendance endowment, make necessary improvements to the in five years is a notable accomplishment that speaks Saarinen and Kahler buildings, and complete an to the dedication of the Museum staff, and to the actionable plan for the reinstallation of the Museum’s critical role the Museum plays in the local, regional, Collection. We at the Museum believe the future is national, and international communities. Through bright and that the opportunities for the Museum and exhibitions such as Andy Warhol: The Last Decade, the surrounding community are abundant. Through Street Seen, and American Quilts, as well as Warrington hard work, creative thinking, and support for a vision, Colescott: Cabaret, Comedy & Satire and Raphael: much is possible. The Woman with the Veil; events such as Art in Bloom, Lakefront Festival of Arts, and MAM After Dark; and Thanks to you, our loyal Members and supporters of additional education programs, lectures, and more, the Milwaukee Art Museum, we are preparing to move W. Kent Velde the Museum ended in good fiscal standing and poised forward. We remain deeply grateful to all the generous for a stronger year ahead. donors who support the Milwaukee Art Museum and its mission. A museum like ours is a collaboration The new fiscal year includes preparations for the of members, donors, employees, and a supportive Museum’s major anniversary cycle, beginning with the public. We appreciate all of you who visit over and over, September 2011 anniversary of the Santiago Calatrava– who give graciously of your time and resources, and designed Quadracci Pavilion, and culminating in 2013 who share your vital energy to help us bring art into with the celebration of the 125th anniversary of the the everyday, for everyone—to enthuse, engage, and Museum’s founding in 1888 as the Layton Art Gallery. educate—for generations to come. Though it seems only yesterday, the opening of the Quadracci Pavilion ten years ago was among the most celebrated occasions in our community. It remains today the brand icon for the Milwaukee area, representing the realization of a dream for the Museum Raymond R. Krueger but also symbolizing the aspirations for the entire President of the Board of Trustees region. To that end, the Museum adds a measurable economic impact to the community through tourism, jobs, and increased traffic to other local attractions and venues. More importantly, the Museum contributes in ways that are beyond measure, enriching daily life, educating and inspiring individuals, and connecting us W. Kent Velde all through art to more universal human experiences. Chairman of the Board of Trustees 2010 annual report | 10 | director’s report Daniel T. Keegan The Milwaukee Art Museum finished fiscal year 2010 (September 1, 2009–August 31, 2010) meeting its primary mission, goals, and objectives with a balanced budget.
Recommended publications
  • Pat Adams Selected Solo Exhibitions
    PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia,
    [Show full text]
  • SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING
    SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING 2018 TR 2:20-5:15PM , Room # 101 Associate Professor Xenia Fedorchenko Office hours by appointment and: TR 10AM-11AM Office Room # 101A; Ext. 8914 e-mail: [email protected] COURSE DESCRIPTION This course is a continuation of Printmaking II with a focus in combining new and previously learnt techniques with individually selected content. COURSE CONTENT Students will continue to learn about Printmaking through assigned readings, demonstrations of techniques, hands-on experience, and self-directed research. Students will work on plates or stones incorporating both hand-drawn and basic photographic imagery. This course is designed to encourage experimentation with the processes covered. Understanding of presenting ones work to a group, writing a statement, safe studio practices, press characteristics and operation, various ink traits (water-based, intaglio and lithographic inks), comparative qualities of diverse papers and studio equipment (rollers, brayers, etc) as they relate to ones oeuvre will be gained. Further study will occur through a series of incrementally challenging projects outside of class. Students should allow for customization of the semester’s assignments to their own artistic inquiries. Further study will also occur in the form of time spent in the library or through gallery visits. At the end of the semester, students will have the skills and visual vocabulary necessary to create unique and editioned prints that coherently combine technique and content. STUDENT LEARNING OUTCOMES At the end of this course students should be able to: −Understand and utilize various intaglio, monoprinting and planographic matrix-producing techniques. −Gain an in-depth understanding of a chosen process within printmaking −Understand color mixing and color interactions in printmaking and apply these to various printing processes.
    [Show full text]
  • Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College
    Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-28-2005 Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College Sarah Rachel Burger Dickinson College Blair Hetherington Douglas Dickinson College Michelle Erika Garman Dickinson College Danielle Marie Gower Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the Contemporary Art Commons Recommended Citation Hirsh, Sharon, et al. Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2005. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Alison Buinicky, Sarah Rachel Burger, Blair Hetherington Douglas, Michelle Erika Garman, Danielle Marie Gower, Blair Lesley Harris, Laura Delong Heffelfinger, Saman Mohammad Khan, Ryan McNally, Erin Elizabeth Mounts, Nora Marisa Mueller, Alexandra Thayer, Heather Jean Tilton, Sharon L. Hirsh, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/9 WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints January 28 – March 5, 2005 Curated by: Alison Buinicky Sarah Burger Blair H. Douglas Michelle E. Garman Danielle M. Gower Blair L. Harris Laura D. Heffelfinger Saman Khan Ryan McNally Erin E. Mounts Nora M.
    [Show full text]
  • 2020 WWE Finest
    BASE BASE CARDS 1 Angel Garza Raw® 2 Akam Raw® 3 Aleister Black Raw® 4 Andrade Raw® 5 Angelo Dawkins Raw® 6 Asuka Raw® 7 Austin Theory Raw® 8 Becky Lynch Raw® 9 Bianca Belair Raw® 10 Bobby Lashley Raw® 11 Murphy Raw® 12 Charlotte Flair Raw® 13 Drew McIntyre Raw® 14 Edge Raw® 15 Erik Raw® 16 Humberto Carrillo Raw® 17 Ivar Raw® 18 Kairi Sane Raw® 19 Kevin Owens Raw® 20 Lana Raw® 21 Liv Morgan Raw® 22 Montez Ford Raw® 23 Nia Jax Raw® 24 R-Truth Raw® 25 Randy Orton Raw® 26 Rezar Raw® 27 Ricochet Raw® 28 Riddick Moss Raw® 29 Ruby Riott Raw® 30 Samoa Joe Raw® 31 Seth Rollins Raw® 32 Shayna Baszler Raw® 33 Zelina Vega Raw® 34 AJ Styles SmackDown® 35 Alexa Bliss SmackDown® 36 Bayley SmackDown® 37 Big E SmackDown® 38 Braun Strowman SmackDown® 39 "The Fiend" Bray Wyatt SmackDown® 40 Carmella SmackDown® 41 Cesaro SmackDown® 42 Daniel Bryan SmackDown® 43 Dolph Ziggler SmackDown® 44 Elias SmackDown® 45 Jeff Hardy SmackDown® 46 Jey Uso SmackDown® 47 Jimmy Uso SmackDown® 48 John Morrison SmackDown® 49 King Corbin SmackDown® 50 Kofi Kingston SmackDown® 51 Lacey Evans SmackDown® 52 Mandy Rose SmackDown® 53 Matt Riddle SmackDown® 54 Mojo Rawley SmackDown® 55 Mustafa Ali Raw® 56 Naomi SmackDown® 57 Nikki Cross SmackDown® 58 Otis SmackDown® 59 Robert Roode Raw® 60 Roman Reigns SmackDown® 61 Sami Zayn SmackDown® 62 Sasha Banks SmackDown® 63 Sheamus SmackDown® 64 Shinsuke Nakamura SmackDown® 65 Shorty G SmackDown® 66 Sonya Deville SmackDown® 67 Tamina SmackDown® 68 The Miz SmackDown® 69 Tucker SmackDown® 70 Xavier Woods SmackDown® 71 Adam Cole NXT® 72 Bobby
    [Show full text]
  • 2021 Topps WWE NXT Checklist.Xls
    BASE BASE CARDS 1 Roderick Strong™ def. Bronson Reed™ NXT 2 Keith Lee™ Retains the NXT® North American Championship NXT TakeOver: Portland 3 The BroserWeights™ Win the NXT® Tag Team Championship NXT TakeOver: Portland 4 NXT® Champion Adam Cole™ def. Tommaso Ciampa™ NXT TakeOver: Portland 5 Johnny Gargano™ Attacks Tommaso Ciampa™ NXT 6 The BroserWeights™ Retain the NXT® Tag Team Championship NXT 7 Tommaso Ciampa™ and Johnny Gargano™ Brawl in the WWE® PC NXT 8 Keith Lee™ def. Dominik Dijakovic™ and Damian Priest™ NXT 9 Johnny Gargano™ def. Tommaso Ciampa™ NXT 10 Timothy Thatcher™ Fills in for The BroserWeights™ NXT 11 Karrion Kross™ Attacks Tommaso Ciampa™ NXT 12 Akira Tozawa™ def. Isaiah "Swerve" Scott™ NXT 13 El Hijo del Fantasma™ Debuts NXT 14 Jake Atlas™ def. Drake Maverick™ NXT 15 Kushida™ def. Tony Nese™ NXT 16 Isaiah "Swerve" Scott™ def. El Hijo del Fantasma™ NXT 17 Imperium™ Attacks Matt Riddle™ & Timothy Thatcher™ NXT 18 Drake Maverick™ def. Tony Nese™ NXT 19 NXT® North American Champion Keith Lee™ def. Damian Priest™ NXT 20 Johnny Gargano™ def. Dominik Dijakovic™ NXT 21 Karrion Kross™ def. Leon Ruff™ NXT 22 Adam Cole™ Retains the NXT® Championship NXT 23 Akira Tozawa™ Picks up a Tournament Victory NXT 24 Kushida™ def. Jake Atlas™ NXT 25 Jake Atlas™ def. Tony Nese™ NXT 26 Imperium™ Wins the NXT® Tag Team Championship NXT 27 Damian Priest™ Attacks Finn Bálor™ NXT 28 Riddle™ def. Timothy Thatcher™ NXT 29 El Hijo del Fantasma™ Wins Group B NXT 30 Roderick Strong™ def. Dexter Lumis™ NXT 31 Drake Maverick™ Wins Group A NXT 32 Tommaso Ciampa™ def.
    [Show full text]
  • A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
    Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice.
    [Show full text]
  • Matthew Franks Education 1999-‐2000 M.A Fine Art Goldsmiths
    Matthew Franks Education 1999-2000 M.A Fine Art Goldsmiths College, University of London 1989-1992 B.A Fine Art Staffordshire University Residencies 2012 Artist in residence/Visiting professor Xian Academy of Fine arts, Xi’an China 2011 Artist in residence Kimmel Harding Nelson, Nebraska USA 2004 Artist in residence Weir Farm, Connecticut in partnership with Aldrich Museum Contemporary Art, Connecticut USA 2004 Artist in Residence Triangle Arts, Nairobi, Kenya in partnership with Gasworks and British Arts Council 2002 Artist in Residence, Manukau Institute of Technology, Auckland University, New Zealand, in partnership with British Council and Creative New Zealand SELECTED SOLO EXHIBITIONS 2014 ‘We Taste Custard We Taste Life’, Horatio Jr. Gallery, London. Matt Franks, Punk and sheep Gallery http://punkandsheep.weebly.com 2008 ‘It’s so hard to tell who’s going to love you the best’ Houldsworth Gallery London 2007 CAS Commission for Economist Plaza, London http://www.contemporaryartsociety.org/consultancy/projects/the-economist-plaza- commissions/ 2005 ‘I am alive and you are dead’, Vamiali Gallery, Athens, Greece http://www.vamiali.net/matt.htm 2004 ‘Untitled’ One in the Other Gallery, London 2003 ‘KlingKlang’, Habitat, Tottenham Court Road, London 2002 ‘transcendent plastic infinite’, Art Now, Tate Britain http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-now-matt-franks ‘Late One Evening’, Tetuhi Gallery, Auckland, New Zealand ‘New Gods’, Alison Jacques gallery, London SELECTED GROUP SHOWS 2015-16 ‘Bonfire of the Vanities’, Display Gallery, London http://displaygallery.co.uk/exhibitions/bonfire-of-the-vanities 2014 ‘Between Thought and Space’, Dilston Grove, CGP London http://betweenthoughtandspace.com http://cgplondon.org/between-thought-space/ 2012 ‘Forward thinking’, Horatio Junior Gallery London.
    [Show full text]
  • Landmark Status of Baseball Stadiums As Regulatory Takings
    Loyola of Los Angeles Entertainment Law Review Volume 29 Number 2 Article 3 3-1-2009 Now Taking the Field, the State Government: Landmark Status of Baseball Stadiums as Regulatory Takings Bryan Steinkohl Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Bryan Steinkohl, Now Taking the Field, the State Government: Landmark Status of Baseball Stadiums as Regulatory Takings, 29 Loy. L.A. Ent. L. Rev. 233 (2009). Available at: https://digitalcommons.lmu.edu/elr/vol29/iss2/3 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. NOW TAKING THE FIELD, THE STATE GOVERNMENT: LANDMARK STATUS OF BASEBALL STADIUMS AS REGULATORY TAKINGS I. INTRODUCTION What if I said that a place that is revered by many-a place that has moved millions to tears of joy and pangs of heartache-no longer exists? Every few years, a memorable historic stadium is demolished to make way for a new luxury venue that a team can call home. Yet, for many fans, the modem stadiums lack the charm of the old ballparks. Fans see these replacements as crimes against their cultural history. Communities confront stadium proposals with cries to protect the aging giants. But, there are tremendous costs involved with historic preservation, especially the protection of sports facilities, which stand in contrast to the costs associated with preservation of residential or commercial buildings.
    [Show full text]
  • Timed Auction - Modern and Contemporary Art (6003) Starting: 11/10/2019 10:00 Ending: Sun, 27Th Oct 2019 17:00 Viewing: Wednesday 23Rd Oct
    Timed Auction - Modern and Contemporary Art (6003) Starting: 11/10/2019 10:00 Ending: Sun, 27th Oct 2019 17:00 Viewing: Wednesday 23rd Oct. 9.30am - 5.30pm Thursday 24th Oct. 9.30am - 5.30pm Friday 25th Oct. 9.30am - 5.30pm Lot 5 § Estimate: £150 - £250 + Fees Anthony Gross CBE (1905-1984)- Saturday Night at Richmond Yorkshire in 1940 Etching Anthony Gross CBE(1905-1984) British 20th Century, 'Saturday Night at Richmond Yorkshire in 1940', print numbered 10/50, signed bottom right, mounted and framed. Measurements 16.2 x 26cm (PL), framed measurements 40 x 52.5 cm 16.2 x 26cm Anthony Gross (1905-1984) was a British etcher and painter, born in London. He studied at the Slade School of Fine Art, Ecole des Beaux-Arts in Paris and at the Academia de San Fernando in Madrid. He was taught etching under Jozef Hecht and was a lifelong friend of Stanley William Hayter. During World War Two he was appointed as an official war artist which saw him create depictions of English coastal defences and training grounds as well as being posted to the front lines of India and Burma, and was present at D-Day. His style is characterised by the use of variegated marks to express tone and texture rather than cross-hatching. Post- war, Gross divided his time between London and le Boulve. In 1965 he created the first President of the Printmakers Council and in 1982 awarded a CBE. Condition Report The print has full margins, hand signed bottom right and is framed with glazing.
    [Show full text]
  • Fttfe MUSEUM of MODERN1 ART
    jr. ,•&-*- t~ V* *«4* /C^v i* 41336 - 2Z f± **e y^^A-^-^p, fttfE MUSEUM OF MODERN1 ART P WEST 53RD STREET, NEW YORK -uEPHONE: CIRCLE 5-89CO FOE IMMEDIATE RELEASE (Note* Photographs of paintings available) BRITAIN DELIVERS WAR PAINTINGS TO MUSEUMxOF MODERN ART. LORD HALIFAX TO OPEN EXHIBITION. On Thursday evening, May 22, Lord Halifax, Great Britain's Ambassador to the United States, will formally open at the Museum of Modern Art an exhibition of the Art of Britain At War, designed to show the wartime roles England assigns to her artists and de­ signers. It will be composed of oils, watercolors, drawings, prints, posters, cartoons, films, photographs, architecture and camouflage of the present war as well as work of British artists during the first World War. The exhibition will open to the public Friday morning, May 23, and will remain on view throughout the summer. It will then be sent by the Museum to other cities in the United States and Canada, The nucleus of the exhibition opening in May will be the group of paintings, watercolors and prints which the Museum expected to open as a much smaller exhibition in November 1940. After several postponments the Museum was finally forced to abandon it as, due to wartime shipping conditions, the pictures did not arrive although word had been received that the shipment had left London early in November. The Museum received the shipment late in January. After weeks of further negotiation with British officials in this country and by cable with London the Museum decided that it would be possible to augment the material already received with other work done by British artists since the first material was sent.
    [Show full text]
  • Stadium Roof? a Retractable Plan
    BASEBALL A63 [PLAYOFF BUZZ ANTHONY RIEBER] [email protected] Stadium roof? A retractable plan DETROIT ince it apparently rains every day in New York now, the ques- Stion has been asked a lot recently: Why doesn’t 3-year-old Yankee Sta- dium have a retractable roof? If it did, then Friday’s suspen- sion of Game 1 of the ALDS would not have happened. The rain that threatened play dur- ing the resumption of Game 1 Saturday would have bounced harmlessly off the roof. So, too, would the drops that pelted Derek Jeter when he struck out in the ninth inning of Sunday’s Game 2. Rain delays? Gone. Rainouts? None. Trying to figure out whether to go to the stadium or stay home when you spent hundreds of dollars on tickets? A thing of the past. Stadiums built for the Yan- kees and Mets cost more than $2 billion. So why didn’t any- one think to put lids on the darn things? It turns out retractable domes were part of the new sta- dium planning for both teams. NEWSDAY PHOTO / J. CONRAD WILLIAMS JR. Ten years ago. But not for the Like Yankee Stadium, Comerica Park in Detroit doesn’t have a roof, but luckily it wasn’t raining at start of last night’s ALDS Game 3. stadiums that opened in 2009. In 2001, then-Mayor Rudy Giuliani unveiled a nonbinding Dome sweet dome agreement with the Steinbren- The six baseball teams with retractable roof stadiums: CAN YOU PICTURE THAT? ners and Wilpons for new stadi- Team Stadium Year Opened/To Open ums during his last days in of- Toronto Blue Jays Rogers Centre 1989 fice.
    [Show full text]
  • Alexey Brodovitch and His Influence
    #, Philadelphia College ofArt expresses its gratitude to those foundations ivithout ivhose major, sponsoring grants this exhibition and catalogue could not have been achieved: The American Metal Climax Foundation; The Catherwood Foundation; The Samuel S. Fels Fund. In addition, generous supporting gifts from the following are gratefully acknou'ledged: Mr. and Mrs. George R. Bunker; The William Randolph Hearst Foundation; Mr. Morton Jenks; Saks Fifth Avenue. The exhibition and catalogue have been produced hv the Philadelphia College ofArt in collaboration with, the Smithsonian Inslilulion, Washington, D.C. April 7, 1972 Philadelphia. Pennsylvania ALEXEY BRODOVITCH ANDmS INFLIIENGE firing the winter of 1969 I had an opportunity to visit Alexey Brodovitch in le Thor, a small, quiet town in the south of France. I had gone there to tell him that the College had wanted to give him a degree and an exhibition, and that we hoped this still might be possible. That first meeting was strange and compelling. Outside that day, there was a clear winter light, and inside his back-lit room, all was shadowed and Brodovitch himself scarcely more than a silhouette, indistinct but also somehow very much a presence. Strained courte- sies in French and English began the visit, but soon gave way to another level of intensity, alwavs just below the surface of what we said. In that simple, lean room, this gaunt and ravaged man. ill and half-paralyzed, anguished by a recent and terrible accident to his son, was by turns gallant and passionate, courteous, friendly and desperately alone. It was impossible to remain aloof from him; he had a way of compelling involvement.
    [Show full text]