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SMITHSONIAN OPPORTUNITIES FOR RESEARCH AND STUDY 2020 Office of Fellowships and Internships Smithsonian Institution Washington, DC The Smithsonian Opportunities for Research and Study Guide Can be Found Online at http://www.smithsonianofi.com/sors-introduction/ Version 2.0 (Updated January 2020) Copyright © 2020 by Smithsonian Institution Table of Contents Table of Contents .................................................................................................................................................................................................. 1 How to Use This Book .......................................................................................................................................................................................... 1 Anacostia Community Museum (ACM) ........................................................................................................................................................ 2 Archives of American Art (AAA) ....................................................................................................................................................................... 4 Asian Pacific American Center (APAC) .......................................................................................................................................................... 6 Center for Folklife and Cultural Heritage (CFCH) ...................................................................................................................................... 7 Cooper-Hewitt, -
African American History & Culture
IN September 2016 BLACK AMERICAsmithsonian.com Smithsonian WITH CONTRIBUTIONS FROM: REP. JOHN LEWIS BLACK TWITTER OPRAH WINFREY A WORLD IN SPIKE LEE CRISIS FINDS ANGELA Y. DAVIS ITS VOICE ISABEL WILKERSON LONNIE G. BUNCH III HEADING NATASHA TRETHEWEY NORTH BERNICE KING THE GREAT ANDREW YOUNG MIGRATION TOURÉ JESMYN WARD CHANGED WENDEL A. WHITE EVERYTHING ILYASAH SHABAZZ MAE JEMISON ESCAPE FROM SHEILA E. BONDAGE JACQUELINE WOODSON A LONG-LOST CHARLES JOHNSON SETTLEMENT JENNA WORTHAM OF RUNAWAY DEBORAH WILLIS SLAVES THOMAS CHATTERTON WILLIAMS SINGING and many more THE BLUES THE SALVATION DEFINING MOMENT OF AMERICA’S ROOTS MUSIC THE NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY & CULTURE OPENS IN WASHINGTON, D.C. SMITHSONIAN.COM SPECIAL�ADVERTISING�SECTION�|�Discover Washington, DC FAMILY GETAWAY TO DC FALL�EVENTS� From outdoor activities to free museums, your AT&T�NATION’S�FOOTBALL� nation’s capital has never looked so cool! CLASSIC�® Sept. 17 Celebrate the passion and tradition of IN�THE� the college football experience as the Howard University Bisons take on the NEIGHBORHOOD Hampton University Pirates. THE�NATIONAL�MALL NATIONAL�MUSEUM�OF� Take a Big Bus Tour around the National AFRICAN�AMERICAN�HISTORY�&� Mall to visit iconic sites including the CULTURE�GRAND�OPENING Washington Monument. Or, explore Sept. 24 on your own to find your own favorite History will be made with the debut of monument; the Martin Luther King, Jr., the National Mall’s newest Smithsonian Lincoln and World War II memorials Ford’s Th eatre in museum, dedicated to the African are great options. American experience. Penn Quarter NATIONAL�BOOK�FESTIVAL� CAPITOL�RIVERFRONT Sept. -
SORS-2021-1.2.Pdf
Office of Fellowships and Internships Smithsonian Institution Washington, DC The Smithsonian Opportunities for Research and Study Guide Can be Found Online at http://www.smithsonianofi.com/sors-introduction/ Version 1.1 (Updated August 2020) Copyright © 2021 by Smithsonian Institution Table of Contents .................................................................................................................................................................................................. 1 How to Use This Book .......................................................................................................................................................................................... 1 Anacostia Community Museum (ACM) ........................................................................................................................................................ 2 Archives of American Art (AAA) ....................................................................................................................................................................... 4 Asian Pacific American Center (APAC) .......................................................................................................................................................... 5 Center for Folklife and Cultural Heritage (CFCH) ...................................................................................................................................... 6 Cooper-Hewitt, National Design Museum (CHNDM) ............................................................................................................................. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
Charles Lang Freer and His Gallery of Art : Turn-Of-The-Century Politics and Aesthetics on the National Mall
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2007 Charles Lang Freer and his gallery of art : turn-of-the-century politics and aesthetics on the National Mall. Patricia L. Guardiola University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Guardiola, Patricia L., "Charles Lang Freer and his gallery of art : turn-of-the-century politics and aesthetics on the National Mall." (2007). Electronic Theses and Dissertations. Paper 543. https://doi.org/10.18297/etd/543 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. CHARLES LANG FREER AND HIS GALLERY OF ART: TURN-OF-THE-CENTURY POLITICS AND AESTHETICS ON THE NATIONAL MALL By Patricia L. Guardiola B.A., Bellarmine University, 2004 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements F or the Degree of Master of Arts Department of Fine Arts University of Louisville Louisville, Kentucky August 2007 CHARLES LANG FREER AND HIS GALLERY OF ART: TURN-OF-THE-CENTURY POLITICS AND AESTHETICS ON THE NATIONAL MALL By Patricia L. Guardiola B.A., Bellarmine University, 2004 A Thesis Approved on June 8, 2007 By the following Thesis Committee: Thesis Director ii DEDICATION In memory of my grandfathers, Mr. -
Visit Smithsonianeducation.Org
Looking for Something? WELCOME For directions and assistance during the event, to Smithsonian Teachers’ Night please ask a volunteer wearing a white National Portrait Gallery Smithsonian Teachers’ Night cap. Smithsonian American Art Museum Listen Friday, September 28, 2012 Enjoy performances throughout the evening by: 7:00–9:30 pm Graham Road Percussion Ensemble Kogod Courtyard, First Floor Refreshments Smithsonian Jazz Masterworks Trio Kogod Courtyard, First Floor Luce Center, Third Floor Great Hall and Luce Center, Third Floor Please note that food and drinks are not Smile! permitted in the exhibition galleries. Check flickr.com/smithsonianeducation for photos taken at this and past events. Please note that attendees may be filmed, photographed, or recorded for educational Door Prizes and promotional uses, which may include posting on the Smithsonian’s and other public Kogod Courtyard, First Floor websites and social media channels. Check your totebag for a certificate to see if you are a winner. Prizes must be claimed by 9:00 pm. Prizes donated by the Smithsonian Center for Education and Museum Studies, Connect the Smithsonian’s education offices, Smithsonian Enterprises, and Target. Join Smithsonian Education on Totebag Distribution Visit SmithsonianEducation.org Kogod Courtyard, First Floor Enrich your classroom throughout the year by Turn in your coupon for your Smithsonian Teachers’ visiting smithsonianeducation.org. You will find Night totebag. Totebags are available for the first more than 2,000 classroom resources, aligned to 3,000 attendees. state and Common Core standards. Museum Stores Thank you First Floor Smithsonian Teachers’ Night is sponsored by Visit the museum store to receive a 10% discount on purchases of $50 or more. -
Opens March 30 at Smithsonian American Art Museum's
March 30, 2018 Media only: [email protected] Media website: americanart.si.edu/pr “No Spectators: The Art of Burning Man” Opens March 30 at Smithsonian American Art Museum’s Renwick Gallery Exhibition Brings Large-Scale Installations From Famed Desert Gathering to Washington Cutting-edge artwork created at Burning Man, the annual desert gathering that is one of the most influential events in contemporary art and culture, will be exhibited in the nation’s capital for the first time this spring. “No Spectators: The Art of Burning Man” will take over the entire Renwick Gallery building, exploring the maker culture, ethos, principles and creative spirit of Burning Man. Several artists will debut new works in the exhibition. In addition to the in-gallery presentation, the Renwick exhibition will expand beyond its walls for the first time through an outdoor extension titled “No Spectators: Beyond the Renwick,” displaying sculptures throughout the surrounding neighborhood. Nora Atkinson, the museum’s Lloyd Herman Curator of Craft, is organizing the exhibition in collaboration with the Burning Man Project, the nonprofit organization responsible for producing the annual Burning Man event in Black Rock City. The outdoor extension of the exhibition is presented in partnership with Washington, D.C.’s Golden Triangle Business Improvement District, a 43-square-block neighborhood that stretches from the White House to Dupont Circle. The Burning Man community was instrumental in suggesting artworks for inclusion in the exhibition. “No Spectators: The Art of Burning Man” opens March 30, 2018. The Renwick is the sole venue for the exhibition, which will close in two phases. -
Arthur M. Sackler Gallery/Freer Gallery of Art
ARTHUR M. SACKLER GALLERY/FREER GALLERY OF ART APPLICATION OF OPERATING RESOURCES FEDERAL GENERAL DONOR/SPONSOR- GOV’T GRANTS APPROPRIATIONS TRUST DESIGNATED & CONTRACTS FTE $000 FTE $000 FTE $000 FTE $000 FY 2007 48 5,679 0 0 57 10,543 0 0 ACTUAL FY 2008 57 5,787 0 434 65 12,480 0 0 ESTIMATE FY 2009 57 5,937 0 434 65 12,480 0 0 ESTIMATE STRATEGIC GOALS: INCREASED PUBLIC ENGAGEMENT; STRENGTHENED RESEARCH; AND ENHANCED MANAGEMENT EXCELLENCE Federal Resource Summary by Performance Objective and Program Category Performance Objective/ FY 2008 FY 2009 Change Performance Category FTE $000 FTE $000 FTE $000 Increased Public Engagement Public Programs Engage and inspire diverse audiences 8 812 8 834 0 22 Provide reference services and information to the 8 812 8 833 0 21 public Exhibitions Offer compelling, first-class exhibitions 15 1,523 15 1,562 0 39 Collections Improve the stewardship of the national 14 1,421 14 1,458 0 37 collections Strengthened Research Research Ensure the advancement of knowledge in the 4 406 4 417 0 11 humanities Enhanced Management Excellence Information Technology Modernize the Institution’s information technology 3 305 3 312 0 7 systems and infrastructure Management Operations Modernize the Institution’s financial management 5 508 5 521 0 13 and accounting operations Total 57 5,787 57 5,937 0 150 77 BACKGROUND AND CONTEXT The Freer Gallery of Art and the Arthur M. Sackler Gallery (FSG) celebrate the artistic traditions of Asia and are widely regarded as one of the world’s most important centers for collections of Asian art. -
Freer Sackler Fact Sheet
Fact Sheet Freer|Sackler Smithsonian Institution ABOUT THE FREER|SACKLER The Freer Gallery of Art and Arthur M. Sackler Gallery, located on the National Mall in Washington, DC, comprise the Smithsonian’s museum of Asian art. The Freer|Sackler contains one of the most important collections of Asian art in the world, featuring more than 40,000 objects dating from the Neolithic period to the present day, with especially fine groupings of Islamic art; Chinese jades, bronzes, and paintings; and the art of the ancient Near East. The museum also contains important masterworks from Japan, ancient Egypt, South and Southeast Asia, and Korea, as well as a noted collection of American art. The Freer|Sackler is committed to expanding public knowledge of the collections through exhibitions, research, and publications. As of 2016, the Freer building is closed for renovation. It will reopen in 2017 with modernized technology and infrastructure, refreshed gallery spaces, and an enhanced Eugene and Agnes E. Meyer Auditorium. Visit asia.si.edu/future for more information. BACKGROUND AND COLLECTIONS Charles Lang Freer, a self-taught connoisseur, began purchasing American art in the 1880s. With the encouragement of American artist James McNeill Whistler (1834–1903), Freer also began to collect Asian art, assembling a preeminent group of works. In 1904, Freer offered his collection to the nation, to be held in trust by the Smithsonian Institution. The Freer Gallery of Art opened to the public in 1923—the first Smithsonian museum dedicated to fine art. The Freer’s collection spans six thousand years and many different cultures. Besides Asian art, the Freer houses a collection of nineteenth- and early twentieth-century American art, including the world’s largest number of works by Whistler. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
THIRD PRESENTATION of the CHARLES LANG FREER MEDAL September 15, 1965
--·' FREER GALLERY OF AR1' Smithsonian Institution THIRD PRESENTATION of the CHARLES LANG FREER MEDAJ_, Washington, D.C. September 15. 1965 FREER GALLERY OF ART Smithsonian Institution THIRD PRESENTATION ill of the CHARLES LANG FREER MEDAL PROFESSOR Ymao YASHmo Washington, D. C. September 15, 1965 FOREWORD On February 25, 1956, the one-hundredth anniver sary of the birth of the late Charles Lang Freer, a medal was established in his memory to be presented from time to time to scholars throughout the world "For distin guished contribution to the knowledge and understand ing of Oriental civilizations as reflected in their arts." On February 25, 1956, the first presentation was made to Professor Osvald Siren of Stockholm, Sweden, the eminent scholar of Chinese art. The second presenta tion was made on May 3, 1960, to the Islamic scholar, Professor Ernst Kuhnel of Berlin, Germany. The third presentation is being made today to Professor Yukio Yashiro of Oiso, Japan, for hisoutstanding contributions and achievements in the field of Japanese art. The bronze :t:Qedal was designed by a leading Ameri- can sculptor, Paul Manship. JOH A. POPE Director Freer Galleryof Art WASHINGTON, D. C. SEPTEMBER 15, 1965 iii THIRD PRESENTATION of the CHARLES LANG FREER MEDAL September 15, 1965 Opening Remarks s. DILON RILEY Secretary, Smithsonian Institution THE CAREER OF PROFESSOR YUKIO YASHIRO JOHN A. POPE Director, Freer Gallery of Art PRESENTATION by TH SECRETARY OF T SMITIISONIAN INSTITUTION ADDRESS OF ACCEPTANCE PROFESSOR YUKo YAsHo Following the Address of Acceptance Reception in Gallery 17 V OPENING REMARKS s. DILLON RIPLEY Secretary, Smithsonian Institution Mr.