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Intern Class 2021-2022
INTERN CLASS 2021- 2022 Saher Ali Halei Benefield Anna Bitners Kyla Cordrey M.D., M.S. M.D., Ph.D. M.D. M.D. Hometown: New Smyrna Beach, FL Hometown: Latham, MD Medical School: University of North Carolina - Hometown: Seattle, WA Hometown: Summit, NJ Medical School: Penn State Chapel Hill Medical School: Albert Einstein Medical School: Johns Hopkins For Fun I: run, hike, read (mostly fiction and For Fun I: Gardening/taking journalism), bake, and sample the Baltimore food For Fun I: cook with my For Fun I: cook, run along the care of my fruit trees, cooking, scene with my husband significant other, explore the harbor, and play/coach field volleyball and tennis, taking naps Why did you choose Hopkins? Two of my favorite outdoors nearby (hiking, kayaking, hockey. mentors from medical school were Harriet Lane (especially in my hammock!) alums, so I knew firsthand the caliber of pediatrician etc.), and try out new restaurants. Why did you choose Why did I choose Hopkins: Hopkins produces. I loved how intentional the Why did you choose Hopkins: Hopkins? Combined pediatrics- program is about educating its residents, and training The incredible people, patient The emphasis on education and residents to be educators. I was excited by the anesthesiology program, friendly graduated autonomy throughout training, variety of population, focus on education, teaching. I loved the culture of the and down-to-earth people, being electives, and ample opportunities to develop career impressive history, clinical pediatric program here as a close to my family, and the interests outside of clinical medicine. What really exposure, and supportive medical student, and I wanted to sealed the deal, though, were the stellar interactions I opportunities to make advocacy had on interview day! The PDs, residents, and staff leadership! be part of a program that and service part of my training were all exceptionally warm and kind and I knew I was What excites you most about appreciated its residents and What excites me most joining a family and not just a training program. -
Dale Chihuly | Chronology
Dale Chihuly | Chronology 1941 Born September 20 in Tacoma, Washington, to George Chihuly and Viola Magnuson Chihuly. 1957 Older brother and only sibling, George, dies in a navy flight-training accident in Pensacola, Florida. 1958 His father suffers a fatal heart attack at age fifty-one, and his mother has to go to work. 1959 Graduates from high school in Tacoma. Enrolls at College of Puget Sound (now University of Puget Sound) in his hometown. 1960 Transfers to University of Washington in Seattle, where he studies interior design and architecture. 1961 Joins Delta Kappa Epsilon fraternity and becomes rush chairman. Learns to melt and fuse glass. 1962 Interrupts his studies and travels to Florence to focus on art. Frustrated by his inability to speak Italian, he moves on to the Middle East. 1963 Works on a kibbutz in Negev desert, Israel. Reinspired, returns to University of Washington and studies under Hope Foote and Warren Hill. In a weaving class with Doris Brockway, incorporates glass shards into woven tapestries. 1964 Returns to Europe, visiting Leningrad and making the first of many trips to Ireland. 1965 Receives BA in interior design from University of Washington. In his basement studio, blows his first glass bubble by melting stained glass and using a metal pipe. 1966 Earns money for graduate school as a commercial fisherman in Alaska. Enters University of Wisconsin at Madison on a full scholarship, to study glassblowing in the first glass program in the United States, taught by Harvey Littleton. 1967 After receiving MS in sculpture from University of Wisconsin, enrolls at Rhode Island School of Design (RISD) in Providence, where he begins exploration of environmental works using neon, argon, and blown glass. -
Community Art Grade K – Chihuly-Inspired Macchia
Grade K – Chihuly-inspired Macchia Community Art What do you see? Macchia ceiling at the Chihuly Garden and Glass Museum in Seattle Artistic Focus: Community Art COMMUNITY ART is an artistic activity based in a community setting, emphasizing collaboration. Today’s objectives: 1. For each student, using colored markers and water, to create a “macchia” or spot of color reminiscent of Dale Chihuly’s colorful glass work. 2. To allow students to observe what happens when colors mix together. 3. To combine all of the students’ individual pieces into a larger work that will represent a kaleidoscope of colors. WA State Visual Arts Standard Engage in exploration and imaginative play with materials. (VA: Cr1.1.K) Macchia ceiling by Dale Chihuly Dale Chihuly • Local, Seattle artist • Born in 1941 in Tacoma, Washington • Learned how to melt and fuse glass in 1961 • Began glassblowing in 1965 • Chihuly's art can be found all around the world in private and public settings • Chihuly’s Garden and Glass museum stands right next to the Space Needle at Seattle Center Artwork Light shining through the macchia ceiling at the Chihuly Garden and Glass Museum in Seattle Artwork Three individual macchia pieces at the Chihuly Garden and Glass Museum in Seattle Artwork Macchia hung under the glass ceiling at the Chihuly Garden and Glass Museum in Seattle Materials Basket coffee filters, white Crayola markers, in any color except black or brown Paper towels Spray bottles for water Plastic cups for Optional: Starch, drying the macchia Rubber bands Example of Today’s Project Before You Begin • Write your name very small in pencil near the edge of your coffee filter. -
Vol. 23, No. 8 August 2019 You Can’T Buy It
ABSOLUTELY FREE Vol. 23, No. 8 August 2019 You Can’t Buy It As Above, So Below Artwork is by Diane Nations and is part of her exhibit Under the Influence of Jung on view at Artworks Gallery in Winston-Salem, North Carolina through August 31, 2019. See the article on Page 28. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Artworks Gallery (Winston-Salem) - Diane Nations Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 5 - Wells Gallery at the Sanctuary & Halsey MCallum Studio Page 4 - Redux Contemporary Art Center & Charleston Artist Guild Page 6 - Thomas Dixon for Mayor & Jesse Williams District 6 Page 5 - Charleston Museum & Robert Lange Studios Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Page 6 - Robert Lange Studios cont., Ella Walton Richardson Fine Art & Rhett Thurman, Anglin Smith Fine Art, Halsey Institute of Contemporary Art, Lowcountry Artists Gallery The Wells Gallery at the Sanctuary & Saul Alexander Foundation Gallery Page 9 - Lowcountry Artists Gallery cont. & Halsey Institute / College of Charleston Page 8 - Halsey Institute / College of Charleston Page 10 - Halsey Institute / College of Charleston & Art League of Hilton Head Page 9 - Whimsy Joy Page 11 - Art League of Hilton Head cont. & Society of Bluffton Artists Page 10 - Halsey Institute -
Museum of Arts and Design
SPRING/SUMMER BULLETIN 2011 vimuseume of artsws and design Dear Friends, Board of Trustees Holly Hotchner LEWIS KRUGER Nanette L. Laitman Director Chairman What a whirlwind fall! Every event seemed in some way or another a new milestone for JEROME A. CHAZEN us all at 2 Columbus Circle. And it all started with a public program that you might have Chairman Emeritus thought would slip under the radar—Blood into Gold: The Cinematic Alchemy of Alejandro BARbaRA TOBER Chairman Emerita Jodorowsky. Rather than attracting a small band of cinéastes, this celebration of the Chilean- FRED KLEISNER born, Paris-based filmmaker turned into a major event: not only did the screenings sell Treasurer out, but the maestro’s master class packed our seventh-floor event space to fire-code LINDA E. JOHNSON Secretary capacity and elicited a write-up in the Wall Street Journal! And that’s not all, none other HOllY HOtcHNER than Debbie Harry introduced Jodorowsky’s most famous filmThe Holy Mountain to Director filmgoers, among whom were several downtown art stars, including Klaus Biesenbach, the director of MoMA PS1. A huge fan of this mystical renaissance man, Biesenbach was StaNLEY ARKIN DIEGO ARRIA so impressed by our series that beginning on May 22, MoMA PS1 will screen The Holy GEORGE BOURI Mountain continuously until June 30. And, he has graciously given credit to MAD and KAY BUckSbaUM Jake Yuzna, our manager of public programs, for inspiring the film installation. CECILY CARSON SIMONA CHAZEN MICHELE COHEN Jodorowsky wasn’t the only Chilean artist presented at MAD last fall. Several had works ERIC DObkIN featured in Think Again: New Latin American Jewelry. -
Altruism, Activism, and the Moral Imperative in Craft
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2009 Altruism, Activism, and the Moral Imperative in Craft Gabriel Craig Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Fine Arts Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1713 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Gabriel Craig 2009 All Rights Reserved Altruism, Activism, and the Moral Imperative in Craft A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University by Gabriel Craig Bachelor of Fine Arts (emphasis in Metals/ Jewelry), Western Michigan University, 2006 Director: Susie Ganch Assistant Professor, Department of Craft/ Material Studies Virginia Commonwealth University Richmond, Virginia May 2009 Acknowledgements I would like to acknowledge several people who have contributed to my success and development as an artist, writer, and as a person of good character in general. First, I would like to thank my father, without whose support the journey would have been much more difficult, Amy Weiks whose unwavering love and support has provided the foundation that allows me to take on so many projects, Susie Ganch, whose mentorship, honesty, and trust have helped me to grow like a weed over the past two years, Natalya Pinchuk whose high standards have helped me to challenge myself more than I thought possible, Sonya Clark who baptized me into the waters of craft and taught me to swim, and Dr. -
At Long Last Love Press Release
At Long Last Love: Fiber Sculpture Gets Its Due October 2014 It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of ab- straction and dimensionality in fiber art from the mid-twentieth centu- ry through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com. There are some standout works in the exhibition — we were thrilled Fiber: Sculpture 1960 — present opening photo by Tom Grotta to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after ad- miring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively. Fiber: Sculpture 1960–present aims to create a sculp- tural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design. -
Ontario Crafts Council Periodical Listing Compiled By: Caoimhe Morgan-Feir and Amy C
OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Ontario Crafts Council Periodical Listing Compiled by: Caoimhe Morgan-Feir and Amy C. Wallace Compiled in: June to August 2010 Last Updated: 17-Aug-10 Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 1 In Celebration of pp. 1-10 Official opening, OCC headquarters, This article is a series of photographs and the Ontario Crafts Crossroads, Joan Chalmers, Thoma Ewen, blurbs detailing the official opening of the Council Tamara Jaworska, Dora de Pedery, Judith OCC, the Crossroads exhibition, and some Almond-Best, Stan Wellington, David behind the scenes with the Council. Reid, Karl Schantz, Sandra Dunn. Craftsman 1976 April 1 1 Hi Fibres '76 p. 12 Exhibition, sculptural works, textile forms, This article details Hi Fibres '76, an OCC Gallery, Deirdre Spencer, Handcraft exhibition of sculptural works and textile House, Lynda Gammon, Madeleine forms in the gallery of the Ontario Crafts Chisholm, Charlotte Trende, Setsuko Council throughout February. Piroche, Bob Polinsky, Evelyn Roth, Charlotte Schneider, Phyllis gerhardt, Dianne Jillings, Joyce Cosgrove, Sue Proom, Margery Powel, Miriam McCarrell, Robert Held. Craftsman 1976 April 1 2 Communications pp. 1-6 First conference, structures and This article discusses the initial Weekend programs, Alan Gregson, delegates. conference of the OCC, in which the structure of the organization, the programs, and the affiliates benefits were discussed. Page 1 of 153 OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 2 The Affiliates of pp. -
AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3
Instructor: Professor Way Term: Spring 2017 Office: Art Building 212 Class time: Monday 5:00-7:50pm Office Hours: please schedule in advance through email Meeting Place: Art 226 Monday, 4:00-5:00, Tuesday 4:00-5:00, Thursday 4:00-5:00 Email: [email protected] – best way to reach me AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3 hours. Selected topics in the history of crafts. Prerequisite(s): ART 1200 or 1301, 2350 and 2360, or consent of instructor. TOPIC – CRITICAL HISTORIES OF CRAFT AND ART HISTORY This course explores how history of art survey texts represent and tell us about craft—what do they have to say about craft, and how do they say it? We are equally interested in where and how these art history survey texts neglect craft. What is missing when histories of art do not include craft? Additionally, we want to think about history of craft texts. Should they include the same agents and situations we find in histories of art, such as famous makers and collectors, the rich and the royal, politics at the highest level, and economics, power, and desire? Also, is it possible to trace influence in craft as we expect to find it discussed in histories of art? What would influence explain about craft? Should a history of craft include features we don’t expect to find in histories of art? Overall, what scholarship and methods make a history of craft? These types of questions ask us to notice standards and expectations shaping knowledge in academic fields, such as art history and the history of craft. -
Potamkin Blackmore Bolton Dweck Press
MUSEUM OF ARTS AND DESIGN ANNOUNCES NEW TRUSTEES AND TREASURER Andi Potamkin Blackmore and Simon Bolton Elected New Trustees Michael Dweck Named Treasurer NEW YORK, NY (January 13, 2017) – The Museum of Arts and Design (MAD) announced today the appointment of two new Trustees: Andi Potamkin Blackmore and Simon Bolton. The Board of Trustees also named current Finance Committee Chair Michael Dweck Treasurer. The election took place at the December 8, 2016, board meeting. “The Board is thrilled to welcome new Trustees Andi Potamkin Blackmore and Simon Bolton, both of whom have made MAD a philanthropic priority,” said Michele Cohen, Chair of the Board. “Their demonstrated commitment to the fields of art and design and their audiences will support the Museum’s mission and visibility efforts.” In Dweck’s expanded role as Treasurer, “his financial expertise, leadership skills, and strategic acumen will serve him well in guiding the Museum in the next phase of its growth,” said Cohen. “We look forward to working with all three in their new roles.” Andi Potamkin Blackmore was elected Trustee in December 2016. A passionate champion of the arts, Potamkin Blackmore is the founder of Le Mise, a Brooklyn-based art and design advisory firm, as well as Three Squares Studio, a hair salon and art gallery in Manhattan, where she currently serves as Creative Director. She also works for the Potamkin Automotive Group, founded by her grandfather, Victor Potamkin, in 1954. Previously, she was the Potamkin in Kasher|Potamkin, a gallery and boutique in Chelsea. Potamkin Blackmore writes about art, design, well- being, and philosophy for publications including L’Oeil de la Photographie and 1stdibs and publishers including Glitterati Incorporated. -
New PDPS Newsletter Template
THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART NewsletterI I VOLUME 35 NUMBER 1 SPRING 2016 GIFTS FOR A NEW CENTURY The New Arrivals exhibition celebrates the success of the BMA’s Campaign for Art by showcasing some of the more than 3,500 gifts, promised gifts, bequests, and purchases of art added to the Museum’s collection. 3 ALSO INSIDE D O PRESIDENT’S LETTER 2 O H O R WHEN PHOTOGRAPHS TACKLE ART HISTORY 6 T I M : O THE DIRECTOR’S COLLECTION 10 T O H P . EVAN LINDQUIST 14 N A M D TAMING THE GARRETT COLLECTION 20 L E F E N BROOMBERG & CHANARIN: OPTICS & CONFLICT 24 I L A © GEORGE ALOYSIUS LUCAS, A BALTIMOREAN IN PARIS 28 Aline Feldman (American, born 1928) Night Grid, 2009 Color white line woodcut Sheet: 1011 x 659 mm. (39 13/16 x 25 15/16 in.) Gift of the Artist BMA 2011.77 R E T T Dear Members of the Print, Drawing & Photograph Society, E BOARD OF DIRECTORS L Spring 2016 It is heartening to be writing a letter for our spring Newsletter as I am surrounded by almost S ’ PRESIDENT T 30 inches of snow! Susan Weiss N E VICE PRESIDENT D As I reflect back on this year so far, I know so many of you enjoyed our opening reception I Francine Krumholz S featuring the exhibitions Photographs from the O’Neil Collection and Late 20th-Century E TREASURER R P Photographs from Russia & Belarus. The tours given by curators Kristen Hileman and Rena Karen Fowler Hoisington were wonderful, and everyone so enjoyed mixing and mingling afterwards at SECRETARY the reception. -
Market Analysis A. the Industry
PLAY Market Analysis A. The Industry Baltimore’s cultural, entertainment, and natural amenities are enjoyed by the residents in the Baltimore region as well as national and international tourists. In 2004, 11.79 million visitors from outside the Baltimore region explored the many attractions our City has to offer. In addition, 3.97 million visitors liv- ing in the Baltimore region, but outside Baltimore City, visited Baltimore. Of course, the 650,000 Baltimore City residents also enjoyed Baltimore’s numer- ous cultural, entertainment, and natural resource amenities. These amenities provide activities for all segments of the population, from youth and families to the elderly. The following discussion focuses on the market for Baltimore’s cultural, entertainment, and natural amenities, with emphasis on our customer base, market size, and trends. Heritage and Cultural Resources Baltimore’s heritage and cultural tourism industry provides place-based, unique experiential products that range from large, world-renowned attractions and events to small, locally celebrated attractions and events. The heritage and cultural tourism industry provides products within three broad areas: visual arts, including art museums, galleries, schools, studios, architecture and archi- tecture-related events; performing arts, including theater, art cinema, dance, and music; and historical and cultural resources, including history museums, literary events, bus and walking tours, and historic districts.1 These resources provide life-enriching experiences that are attracting a larger number of visitors who are generally over the age of 40. Heritage and Cultural tourism is expanding its products, especially in the African American niche market. In addition, visitation to historic and culturally rich neighborhoods is increasing.