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PUBLIC SCULPTURE LOCATIONS Introduction to the PHOTOGRAPHY: 17 Daniel Portnoy PUBLIC Public Sculpture Collection Sid Hoeltzell SCULPTURE 18
1 2 3 4 5 6 7 VIRGINIO FERRARI RAFAEL CONSUEGRA UNKNOWN ARTIST DALE CHIHULY THERMAN STATOM WILLIAM DICKEY KING JEAN CLAUDE RIGAUD b. 1937, Verona, Italy b. 1941, Havana, Cuba Bust of José Martí, not dated b. 1941, Tacoma, Washington b. 1953, United States b. 1925, Jacksonville, Florida b. 1945, Haiti Lives and works in Chicago, Illinois Lives and works in Miami, Florida bronze Persian and Horn Chandelier, 2005 Creation Ladder, 1992 Lives and works in East Hampton, New York Lives and works in Miami, Florida Unity, not dated Quito, not dated Collection of the University of Miami glass glass on metal base Up There, ca. 1971 Composition in Circumference, ca. 1981 bronze steel and paint Location: Casa Bacardi Collection of the University of Miami Gift of Carol and Richard S. Fine aluminum steel and paint Collection of the University of Miami Collection of the University of Miami Gift of Mr. and Mrs. Alfred Camner Location: Gumenick Lobby, Newman Alumni Center Collection of the Lowe Art Museum, Collection of the Lowe Art Museum, Location: Casa Bacardi Location: Casa Bacardi Location: Gumenick Lobby, Newman Alumni Center University of Miami University of Miami Gift of Mr. and Mrs. Blake King, 2004.20 Gift of Dr. Maurice Rich, 2003.14 Location: Wellness Center Location: Pentland Tower 8 9 10 11 12 13 14 JANE WASHBURN LEONARDO NIERMAN RALPH HURST LEONARDO NIERMAN LEOPOLDO RICHTER LINDA HOWARD JOEL PERLMAN b. United States b. 1932, Mexico City, Mexico b. 1918, Decatur, Indiana b. 1932, Mexico City, Mexico b. 1896, Großauheim, Germany b. 1934, Evanston, Illinois b. -
An Internship Report on the Ogden Museum of Southern Art
University of New Orleans ScholarWorks@UNO Arts Administration Master's Reports Arts Administration Program 12-2015 An Internship Report on the Ogden Museum of Southern Art Grace Rennie University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Part of the Arts Management Commons Recommended Citation Rennie, Grace, "An Internship Report on the Ogden Museum of Southern Art" (2015). Arts Administration Master's Reports. 185. https://scholarworks.uno.edu/aa_rpts/185 This Master's Report is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Master's Report in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Master's Report has been accepted for inclusion in Arts Administration Master's Reports by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. An Internship Report on the Ogden Museum of Southern Art An Internship Academic Report Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration by Grace Rennie B.F.A. School of the Art Institute of Chicago, 2011 December 2015 Table of Contents -
Art Museum Digital Impact Evaluation Toolkit
Art Museum Digital Impact Evaluation Toolkit Developed by the Cleveland Museum of Art’s Office of Research & Evaluation in collaboration with Rockman et al thanks to a generous grant from the National Endowment for the Arts. 2018 Content INTRODUCTION ..........................................................2 01 VISITOR CONTEXT .....................................................3 Demographics ............................................................4 Motivations ..............................................................5 Visitation Frequency .......................................................6 02 CONTEXT OF THE DIGITAL EXPERIENCE ...................................7 Prior Digital Engagement ................................................... 8 Timing of Interactive Experience ..........................................9 03 VISITORS’ RELATIONSHIP WITH ART .....................................10 04 ATTITUDES AND IDEAS ABOUT ART MUSEUMS .............................12 Perceptions of the Art Museum ..............................................13 Perceptions of Digital Interactives ............................................14 05 OVERALL EXPERIENCE AND IMPACT ....................................15 06 AREAS FOR FURTHER EXPLORATION .....................................17 ABOUT THE CLEVELAND MUSEUM OF ART ...................................19 Introduction The Art Museum Digital Impact Evaluation Toolkit in which the experience was studied. The final (AMDIET) is intended to provide artmuseums and version of data collection instruments -
Florida Faculty Painting Exhibitions the Iv Sual Arts Gallery at Florida International University Frost Art Museum the Patricia and Phillip Frost Art Museum
Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 1-11-1980 Florida Faculty Painting Exhibitions The iV sual Arts Gallery at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Recommended Citation Frost Art Museum, The iV sual Arts Gallery at Florida International University, "Florida Faculty Painting Exhibitions" (1980). Frost Art Museum Catalogs. 57. https://digitalcommons.fiu.edu/frostcatalogs/57 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. January 11 - February 1, 1980 Visual Arts Gallery Florida InternationalUniversity,Tamiami Campus Foreward This is an opportune time for an exhibition of painting. Many have said that the past two decades represented a "bad season" for painters in that tradition gave way to technology, anti-art, anti-form, environment and concept; and that, indeed, painting was dead. This show refutes that premise. Although limited to work from the State of Florida, it reflects the diversity and variety of styles which characterizes the art world today. A rapid succession of movements emerged in reaction to Abstract Expressionism and to each other throughout the 60's and 70's. Pop, assemblage, monochrome painting, color abstraction and shaped geometry has been joined by an interest in figuration, pattern-painting, punk art, realism and super-realism. In this statement one cannot unravel the art-historical complexities inherent in the paintings, yet the vitality and shared committment of these Florida artists cannot fail to be recognized. -
Front Desk Concierge Book Table of Contents
FRONT DESK CONCIERGE BOOK TABLE OF CONTENTS I II III HISTORY MUSEUMS DESTINATION 1.1 Miami Beach 2.1 Bass Museum of Art ENTERTAINMENT 1.2 Founding Fathers 2.2 The Wolfsonian 3.1 Miami Metro Zoo 1.3 The Leslie Hotels 2.3 World Erotic Art Museum (WEAM) 3.2 Miami Children’s Museum 1.4 The Nassau Suite Hotel 2.4 Pérez Art Museum Miami (PAMM) 3.3 Jungle Island 1.5 The Shepley Hotel 2.5 Miami Science Museum 3.4 Rapids Water Park 2.6 Vizcaya Museum & Gardens 3.5 Miami Sea Aquarium 2.7 Frost Art Museum 3.6 Lion Country Safari 2.8 Museum of Contemporary Art (MOCA) 3.7 Seminole Tribe of Florida 2.9 Lowe Art Museum 3.8 Monkey Jungle 2.10 Flagler Museum 3.9 Venetian Pool 3.10 Everglades Alligator Farm TABLE OF CONTENTS IV V VI VII VIII IX SHOPPING MALLS MOVIE THEATERS PERFORMING CASINO & GAMING SPORTS ACTIVITIES SPORTING EVENTS 4.1 The Shops at Fifth & Alton 5.1 Regal South Beach VENUES 7.1 Magic City Casino 8.1 Tennis 4.2 Lincoln Road Mall 5.2 Miami Beach Cinematheque (Indep.) 7.2 Seminole Hard Rock Casino 8.2 Lap/Swimming Pool 6.1 New World Symphony 9.1 Sunlife Stadium 5.3 O Cinema Miami Beach (Indep.) 7.3 Gulfstream Park Casino 8.3 Basketball 4.3 Bal Harbour Shops 9.2 American Airlines Arena 6.2 The Fillmore Miami Beach 7.4 Hialeah Park Race Track 8.4 Golf 9.3 Marlins Park 6.3 Adrienne Arscht Center 8.5 Biking 9.4 Ice Hockey 6.4 American Airlines Arena 8.6 Rowing 9.5 Crandon Park Tennis Center 6.5 Gusman Center 8.7 Sailing 6.6 Broward Center 8.8 Kayaking 6.7 Hard Rock Live 8.9 Paddleboarding 6.8 BB&T Center 8.10 Snorkeling 8.11 Scuba Diving 8.12 -
C O N N I E L L O V E R a S
Connie Lloveras Education: Florida International University, B.F.A. 1981 Miami-Dade Community College, A.A. 1979 Solo Exhibitions: 2017 “Connie Lloveras: Messenger Pigeons and Circles,” The Americas Collection Coral Gables, FL 2015 “Connie Lloveras: Messenger Pigeons and Forms,” Galeria Arteconsult, Panama City, Panama. 2014 “Connie Lloveras: Messenger Pigeons”, The Americas Collection, Coral Gables, FL 2012 “Connie Lloveras: Random Forms”, Galeria Arteconsult, Panama City, Panama 2111 “Connie Lloveras: Letters and Forms”, The Americas Collectiom, Coral Gables, FL 2009 “Connie Lloveras: Scattered Pieces”, Gruen Galleries, Chicago, IL 2008 “C. Lloveras: Construction, Canvas, & Paper Work”, The Americas Collection, Coral Gables, FL “Connie Lloveras: Wood and Clay Constructions”. Galeria Arteconsult, Panama City, Panama 2007 “Spiritual Landscapes”, Gruen Galleries, Chicago, IL 2006 “Ordinary Moments”, Art @ Work, Miami, FL 2005 “Ordinary Moments in Ordinary Time”, The Americas Collection, Coral Gables, FL “Connie Lloveras: Recent Work”, Galeria Arte Consult, Panama City, Panama 2004 “Solo: Connie Lloveras”, Gruen Gallery. Chicago, IL 2003 “Bread, Houses, and Intuition”, The Americas Collection, Coral Gables, FL 2002 “Connie Lloveras: Unspoken Words, a Retrospective 1990 to 2000”, Museo de Art Contemporaneo, Panama City, Panama 2001 “Connie Lloveras: Light Seeds,” Collins Fine Art, Chicago, IL “Connie Lloveras: Dream Sorting,” The Americas Collection, Coral Gables, FL 2000 "Connie Lloveras: Interior Gardens," David Rockefeller Center for -
Art Museums and the Public
ART MUSEUMS AND THE PUBLIC Prepared for the International Art Museums Division Smithsonian Institution October 2001 Smithsonian Institution Office of Policy & Analysis Washington, D.C. 20560-0405 Introduction This is one of a series of papers prepared by the Smithsonian's Office of Policy and Analysis to brief members of the Smithsonian Council in advance of their November, 2001 meeting on Smithsonian art museums. Preparation for this paper included interviews with art museum staff, some from inside the Smithsonian and some from outside the Smithsonian. The Activities of Art Museums The official definition of a museum, according to the grant guidelines for the Institute of Museum and Library Services, is: "an organized and permanent nonprofit institution, essentially educational or aesthetic in purpose, with professional staff, which owns and utilizes tangible objects, cares for them, and exhibits them to the public on some regular schedule." The International Council of Museums (ICOM) defines a museum as: "a nonprofit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study education and enjoyment, material evidence of humans and their environment." The American Association of Museums (AAM), however, has altered its official definition to insist only on the use of objects, not on their ownership. To be a museum, in its definition, is to meet the following requirements: • be a legally organized not-for-profit -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection
TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection Kate Ramsey and Louis Herns Marcelin Mario Benjamin b. 1964, Port-au-Prince, Haiti Untitled, ca. 1996 mixed media on masonite 60 x 48 1/4 x 3 7/8 in. (152.4 x 122.6 x 9.8 cm) Gift of Dr. and Mrs. Carl Eisdorfer, 2002.57.48 Published on the occasion of the exhibition Transformative Visions: Works by Haitian Artists from the Permanent Collection, November 8, 2014 – January 18, 2015. Organized by Louis Herns Marcelin, Ph.D. and Kate Ramsey, Ph.D. TRANSFORMATIVE VISIONS reproduced in any form, by any means, electronic or mechanical, including photocopying, or by any storage or retrieval system, without the written permission of the Lowe Art Museum, University of Miami, Coral Gables, Florida 33146. the materials presented herein. Any person or organization that may have been inadvertently overlooked vi FOREWORD or proved unreachable should contact the Lowe directly so that the necessary corrections can be made in Jill Deupi any future printings. viii ACKNOWLEDGMENTS Funding for the exhibition and catalogue was made possible through Beaux Art, and the membership of Kate Ramsey and Louis Herns Marcelin the Lowe Art Museum, with additional support from the Linnie E. Dalbeck Memorial Foundation Trust. xi NOTE ON THE SPELLING OF TERMS IN HAITIAN KREYÒL 1 TRANSFORMATIVE VISIONS: AN INTRODUCTION Additional programmatic support was provided through HSBC, the University of Miami’s Center for the Humanities, the College of Arts and Sciences’ Strategic Initiatives Fund, Caribbean Literary and Cultural Kate Ramsey Studies in the Department of English, the Department of Modern Languages and Literatures Joseph Carter Memorial Fund, the Department of Anthropology, the Department of Art and Art History, the 23 CONVERSATION WITH PASCALE MONNIN Department of History, the Program in Africana Studies, and the Program in American Studies. -
John Alexander
John Alexander 1945 Born in Beaumont, Texas EDUCATION 1970 M.F.A. from Southern Methodist University, Dallas, Texas 1968 B.F.A. from Lamar University, Beaumont, Texas SOLO EXHIBITIONS 2011 John Alexander: One World: Two Artists, Ogden Museum of Southern Art, New Orleans, LA John Alexander: Paintings, J. Johnson Gallery, Jacksonville, FL John Alexander: John Alexander and Walter Anderson, One World: Two Artists, The University of Mississippi Museum, Oxford, MS 2010 John Alexander, McClain Gallery, Houston, TX 2009 John Alexander, Arthur Roger Gallery, New Orleans, LA 2008 John Alexander: Drawings. Hemphill Fine Art, Washington DC John Alexander: A Retrospective. Museum of Fine Arts, Houston, TX John Alexander: New Paintings, McClain Gallery, Houston, TX John Alexander. Drawing Room, East Hampton, NY John Alexander: New Drawings, McClain Gallery, Houston, TX John Alexander: Recent Paintings, Imago Galleries, Palm Desert, CA 2007 John Alexander: New Works on Paper. Eaton Fine Art, West Palm Beach, FL John Alexander: A Retrospective. Smithsonian American Art Museum, Washington DC 2006 John Alexander, Arthur Roger Gallery, New Orleans, LA 2005 John Alexander: The Sea! The Sea!, Eaton Fine Art, West Palm Beach, FL John Alexander: Recent Observations, The Butler Institute of American Art. Youngstown, OH 2004 John Alexander, J. Johnson Gallery, Jacksonville Beach, FL John Alexander, Bentley, Gallery, Scottsdale, AZ 2003 Dishman Gallery of Art, Lamar University, Beaumont, TX JA: 35 Years of Works on Paper. Art Museum of Southeast Texas, Beaumont, -
The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission. -
UNIVERSITY of MIAMI BUILDINGS - Listed by Name As of June 1, 2017
UNIVERSITY OF MIAMI BUILDINGS - Listed by Name as of June 1, 2017 CORAL GABLES CAMPUS - BUILDINGS OWNED 0108 1300 CAMPO SANO 0859 1430 CONSOLATA 0858 1511 MATARO 0851 1515 MATARO 0854 1521 MATARO 0701 1535 LEVANTE 0852 1535 MATARO 0718 1551 BRESCIA 0704 1552 BRESCIA 0853 1555 MATARO 0855 5230 SAN AMARO 0857 5700 SAN AMARO 0850 5720 SAN AMARO 0730 5827 PONCE DE LEON 0700 5855 PONCE DE LEON 0726 6230 SW 57 AVE 0220 ALLEN HALL 0448 ARCHITECTURE (48) 0449 ARCHITECTURE (49) 0227 ARESTY BUILDING 0205 ASHE ADMINISTRATION BUILDING 0313 BEHAVIORAL MEDICINE BUILDING 0715 CASA BACARDI - ICCAS 0221 CENTREX BUILDING 0610 COBB STADIUM 0235 COMMUNICATION INTERNATIONAL BUILDING 0306 COUNSELING CENTER 0111 COX GENERATOR ENCLOSURE 0110 COX SCIENCE ANNEX 0104 COX SCIENCE BUILDING 0213 DANER LAW LIBRARY WING (B) 0203 DOOLY MEMORIAL CLASSROOM BUILDING 0450 EATON RESIDENTIAL COLLEGE 0228 EPSTEIN/KOSAR FACULTY BUILDING 0202 FERRE BUILDING 0614 FIELDHOUSE 0612 FLIPSE BUILDING 0508 FOSTER PRACTICE HALL 0605 FRASER BASEBALL BUILDING 0519 FROST NORTH STUDIO WING 0523 FROST SOUTH STUDIO WING 0727 GABLES ONE TOWER 0112 GATEHOUSE, MEMORIAL DRIVE 0318 GATEHOUSE, STANFORD DRIVE 0223 GUSMAN CONCERT HALL 0509 HANDLEMAN BUILDING 0601 HECHT ATHLETIC CENTER 0408 HECHT RESIDENTIAL COLLEGE-COMMONS 0406 HECHT RESIDENTIAL COLLEGE-MCDONALD 0407 HECHT RESIDENTIAL COLLEGE-PENTLAND 0405 HECHT-STANFORD DINING HALL 0518 HERBERT WELLNESS CENTER 0511 HERMAN RING THEATRE 0521 INTRAMURAL BUILDING 0225 JENKINS BUILDING 0606 KEARNS HALL OF FAME 0114 KNIGHT PHYSICS BUILDING 0604 KNIGHT SPORTS