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D4 DEACCESSION LIST 2019-2020 FINAL for HLC Merged.Xlsx
Object ID Object Name Brief Description Donor Reason Comments Process Date Box Barcode Pallet 496 Vase Ornamental vase Unknown Redundant 2/20/2020 54 1975-7 Table, Coffee Unknown Condition 12/12/2019 Stables 1976-7 Saw Unknown Redundant 12/12/2019 Stables 1976-9 Wrench Unknown Redundant 1/28/2020 C002172 25 1978-5-3 Fan, Electric Baer, John David Redundant 2/19/2020 52 1978-10-5 Fork Small form Anderson, Helen Redundant 12/12/2019 C001523 14 1978-10-7 Fork Barbeque fork Anderson, Helen Redundant 12/12/2019 C001523 14 1978-10-9 Masher, Potato Anderson, Helen Redundant 12/12/2019 C001523 14 1978-10-16 Set, Dishware Set of "Bluebird" dishes Anderson, Helen Condition 11/12/2019 C001351 7 1978-11 Pin, Rolling Grantham, C. W. Redundant 12/12/2019 C001523 14 1981-10 Phonograph Sonora Phonograph Co. Unknown Redundant 2/11/2020 1984-4-6 Medicine Dr's wooden box of antidotes Fugina, Jean Condition 2/4/2020 42 1984-12-3 Sack, Flour Flour & sugar sacks, not local Hobbs, Marian Relevance 1/2/2020 C002250 9 1984-12-8 Writer, Check Hobbs, Marian Redundant 12/3/2019 C002995 12 1984-12-9 Book, Coloring Hobbs, Marian Condition 1/23/2020 C001050 15 1985-6-2 Shirt Arrow men's shirt Wythe, Mrs. Joseph Hills Condition 12/18/2019 C003605 4 1985-11-6 Jumper Calvin Klein gray wool jumper Castro, Carrie Condition 12/18/2019 C001724 4 1987-3-2 Perimeter Opthamology tool Benson, Neal Relevance 1/29/2020 36 1987-4-5 Kit, Medical Cardboard box with assorted medical tools Covenant Women of First Covenant Church Relevance 1/29/2020 32 1987-4-8 Kit, Surgical Covenant -
THE WASHINGTON COLOR SCHOOL on View September 9, 2021 – October 23, 2021
For Immediate Release EDWARD TYLER NAHEM PRESENTS PRIMACY: THE WASHINGTON COLOR SCHOOL On View September 9, 2021 – October 23, 2021 Opening Reception: Thursday September 9, 2021 (6:00pm– 8:00pm) (New York) – August 23, 2021 – Edward Tyler Nahem Fine Art (ETNFA) is pleased to present Primacy: The Washington Color School, an exhibition curated by Dexter Wimberly of paintings by nine eminent Washington Color School artists: Cynthia Bickley-Green, Gene Davis, Sam Francis, Sam Gilliam, Morris Louis, Howard Mehring, Kenneth Noland, Alma Thomas, and Kenneth V. Young. The origin of the Washington Color School is linked to a 1965 exhibition titled The Washington Color Painters, organized by Gerald Norland at the Washington Gallery of Modern Art in Washington D.C. Five of the six artists in the original 1965 Washington Color Painters exhibition are included in Primacy. Artists of the Washington Color School are distinguished by their rejection of gesture in favor of flat, hard-edged planes of color, as seen in Gene Davis’s adroitly executed Red Dog (ca. 1961) and Morris Louis’s Number 19 (1962), two works in the exhibition that create optical effects and showcase the transcendent potential of painting. Hung next to Howard Mehring’s Blue Note (1964) and Kenneth Noland’s Untitled (1965), these deceptively simple compositions radiate dynamism and tension. In the vanguard of experimentation, the Washington Color School artists pushed boundaries with techniques and processes that would lead them to form individual but related styles, all of which emerged in reaction to Abstract Expressionism. This point of origin is clearly seen in the earliest work in the exhibition, Study for Moby Dick (1958) by Sam Francis, an artist associated with both the Abstract Expressionist movement and Post-Painterly Abstraction. -
Parking Map.Pdf
Main Campus TenleyPUBLIC Campus SAFETY Police ʀ Communications ʀ Physical Security ʀ Parking Future Home of Washington College of Law Emergency: (202) 885-3636 Non-Emergency: (202) 885-2527 Mass Ave Parking: (202) 885-3111 Tenley Field American.edu/PublicSafety ʀ Twitter @AUPublicSafetyCircle American.edu/Parking ʀ Twitter @ParkingatAU Legend Parking & Transit Information P Permit Parking Only Permit or Pay-As-You-Go RequiredUNDER: Monday-Friday, 8:00AM-5:00PM CONSTRUCTION Permit or PayͲAsͲ Pay-As-You-Go Hourly & Daily Parking P $2.00 per hour or $16.00Dunblane per day YouͲGo Parking Pay-As-You-Go Machines are located in Katzen Arts Center Garage or School of International Service Garage in the elevator lobbies. Z ZipCar Massachusetts Avenue Permit Parking S ShuƩle Stop $126.00 per month (Faculty & Staff) or $506.00 per semester (Students) Parking Permits (Student, Faculty & Staff and Occasional Parker) are valid in all Admissions Nebraska Wesley parking lots and garages. Permits must be displayed at all times. Welcome Theological Cassell Center Katzen Seminary Arts Good Neighbor Parking Policy Center President's P Parking is prohibited on all neighborhood streets, including at parking meters, Building Glover while attending class, working, or visiting any university property. Leonard Gate Transit Information University Avenue McDowell Parking is limited on campus. AU provides a free shuttle service for students, McDowell S S faculty, staff and guests from the Tenleytown Metro Station. More information: S American.edu/Shuttle ʀ goDCgo.com -
Bibliography
Professor Peter Henriques, Emeritus E-Mail: [email protected] Recommended Books on George Washington 1. Paul Longmore, The Invention of GW 2. Noemie Emery, Washington: A Biography 3. James Flexner, GW: Indispensable Man 4. Richard Norton Smith, Patriarch 5. Richard Brookhiser, Founding Father 6. Marcus Cunliffe, GW: Man and Monument 7. Robert Jones, George Washington [2002 edition] 8. Don Higginbotham, GW: Uniting a Nation 9. Jack Warren, The Presidency of George Washington 10. Peter Henriques, George Washington [a brief biography for the National Park Service. $10.00 per copy including shipping.] Note: Most books can be purchased at amazon.com. A Few Important George Washington Web sites http://chnm.gmu.edu/courses/henriques/hist615/index.htm [This is my primitive website on GW and has links to most of the websites listed below plus other material on George Washington.] www.virginia.edu/gwpapers [Website for GW papers at UVA. Excellent.] http://etext.virginia.edu/washington [The Fitzpatrick edition of the GW Papers, all word searchable. A wonderful aid for getting letters on line.] http://georgewashington.si.edu [A great interactive site for students of all grades focusing on Gilbert Stuart’s Lansdowne portrait of GW.] http://www.yale.edu/lawweb/avalon/presiden/washpap.htm [The Avalon Project which contains GW’s inaugural addresses and many speeches.] http://www.mountvernon.org [The website for Mount Vernon.] Additional Books and Websites, 2004 Joe Ellis, His Excellency, October 2004 [This will be a very important book by a Pulitzer winning -
Cathedral, but It Is Aligned to Ohio's Learning Writing Standards Before the 2017 Revisions and Ohio's State Tests
Columbus City Schools This is an older resource which can provide ideas for teaching the Standards for English Language Arts Curriculum student mastery using The Cathedral, but it is aligned to Ohio's Learning Writing Standards before the 2017 revisions and Ohio's State Tests. Course/Grade Text Type Grade 7 Book Unit Cathedral: The Informative/ Explanatory (15 Days) Story of Its Construction (1120L) Portfolio Writing Prompt: After reading Cathedral, write an essay that describes how a famous building or a specific building in your community was constructed. Research the reasons the structure was built and the way the structure has been used over the years. Include multimedia resources such as a power point, video, posters or other multimedia to clarify your essay. Common Core Writing: Text types, responding to reading, and research The Standards acknowledge the fact that whereas some writing skills, such as the ability to plan, revise, edit, and publish, are applicable to many types of writing, other skills are more properly defined in terms of specific writing types: arguments, informative/explanatory texts, and narratives. Standard 9 stresses the importance of the reading-writing connection by requiring students to draw upon and write about evidence from literary and informational texts. Because of the centrality of writing to most forms of inquiry, research standards are prominently included in this strand, though skills important to research are infused throughout the document. (CCSS, Introduction, 8) Informational Text Informational/explanatory writing conveys information accurately. This kind of writing serves one or more closely related purposes: to increase readers knowledge of a subject, to help readers better understand a procedure or process, or to provide readers with an enhanced comprehension of a concept. -
Capitol Hill Tower Co-Op 35
Federal Center SW Capitol South Eastern Market Capitol Eastern South Market CAPITOL Gareld Park 55 HILL Potomac Ave 45 47 48 15 16 NEW JERSEY AVE 44 17 23 21 Sports Field 19 33 20 41 HALF ST 14 (2011) Park Canal 25 40 27 28 43 VA Ave Gardens 46 18 36 58 54 4 22 42 Waterfront-SEU 6 8TH ST 38 12 3 32 5 35 24 49 37 31 M ST 13 34 Navy Yard 2 DOT HQ 9 10 WASHINGTON 51 39 50 NAVY YARD 52 26 1 Boathouse Row 29 56 NATIONALS 57 PARK The Yards Park (2010) SOUTH CAPITOL ST SOUTH CAPITOL 59 8 30 53 Diamond 11 Teague Park C O S T 11th Street A I A Bridge N R I A V E R Frederick Douglass Bridge AS OF 3Q 2009 2000 Feet EA 1000 Feet R A MD DC OFFICE RO RESIDENTIAL MET VA MIXED USE 7 DC INDUSTRIAL CAPITOL RIVERFRONT LAND USE, EXISTING TENANTS & AMENITIES Anacostia OFFICE RESIDENTIAL 29. Nationals Park 45. Harris Teeter 30. Navy Yard Museum & 46. Safeway 1. Washington Navy Yard & NCIS 15. Jefferson at Capitol Yards USS Barry ship 47. McDonalds 2. U.S. Dept of Transportation HQ 16. Axiom at Capitol Yards 31. CVS Pharmacy 48. Splash Car Wash 3. BAE Systems, Northrup Grumman, AT&T 17. 909 at Capitol Yards 32. Subway & Five Guys 49. Blue Castle 4. Alion, William C. Smith & Co. 18. Onyx on First 33. Congressional Dry Cleaners 50. The Yards Retail (2011) 5. Lockheed Martin, HNTB Architects, 19. -
Colorful Language: Morris Louis, Formalist
© COPYRIGHT by Paul Vincent 2014 ALL RIGHTS RESERVED To UNC-G professor Dr. Richard Gantt and my mother, for their inspiration and encouragement. COLORFUL LANGUAGE: MORRIS LOUIS, FORMALIST CRITICISM, AND MASCULINITY IN POSTWAR AMERICA BY Paul Vincent ABSTRACT American art at mid-century went through a pivotal shift when the dominant gestural style of Abstract Expressionism was criticized for its expressive painterly qualities in the 1950s. By 1960, critics such as Clement Greenberg and Michael Fried were already championing Color Field painting for its controlled use of color and flattened abstract forms. Morris Louis, whose art typifies this latter style, and the criticism written about his work provides a crucial insight into the socio-cultural implications behind this stylistic shift. An analysis of the formalist writing Greenberg used to promote Louis’s work provides a better understanding of not only postwar American art but also the concepts of masculinity and gender hierarchy that factored into how it was discussed at the time. ii ACKNOWLEDGMENTS I would like to extend my thanks Dr. Helen Langa and Dr. Andrea Pearson for their wisdom, guidance, and patience through the writing of this thesis. I would also like to thank Dr. Juliet Bellow, Dr. Joanne Allen, and Mrs. Kathe Albrecht for their unwavering academic support. I am equally grateful to my peers, Neda Amouzadeh, Lily Sehn, Kathryn Fay, Caitlin Glosser, Can Gulan, Rachael Gustafson, Jill Oakley, Carol Brown, and Fanna Gebreyesus, for their indispensable assistance and kind words. My sincere appreciation goes to The Phillips Collection for allowing me the peace of mind that came with working within its walls and to Mr. -
Map of the Capitol Hill Complex
Map of the Capitol Hill Complex Dirksen Senate Office Building: Northeast of the Capitol, adjoining the Hart Senate Office Building on a site bounded by Constitution Avenue, Second Street, First Street, and C Street, N.E. Russell Senate Office Building: Northeast of the Capitol on a site bounded by Constitution Avenue, First Street, Delaware Avenue, and C Street, N.E. Hart Senate Office Building: Northeast of the Capitol, adjoining the Dirksen Senate Office Building on a site bounded by Constitution Avenue, Second Street, First Street, and C Street, N.E. Cannon House Office Building: Southeast of the Capitol on a site bounded by Independence Avenue, First Street, New Jersey Avenue, and C Street S.E. Longworth House Office Building: South of the Capitol on a site bounded by Independence Avenue, New Jersey Avenue, South Capitol Street, and C Street, S.E. Rayburn House Office Building: Southwest of the Capitol on a site bounded by Independence Avenue, South Capitol Street, First Street, and C Street, S.W. Metro Directions to the House and Senate Office Buildings Metro Directions from the hotel to the HOUSE side (approx. 33-38 minutes) 1. Head EAST on Woodley Road NW 2. Turn RIGHT on Connecticut Ave NW 3. Arrive at WOODLEY PARK-ZOO METRO STATION 4. Take the RED line toward GLENMONT/SILVER SPRING. 5. Get off at METRO CENTER STATION. 6. Get on the BLUE/ORANGE line toward LARGO TOWN CENTER/ NEW CARROLLTON. 7. Get off at the CAPITOL SOUTH station 8. You will come out on 1ST STREET SE. Turn left onto 1st and follow it up the hill. -
Post-War & Contemporary
Post-War & Contemporary Art New York I November 18, 2020 Bonhams Detail Lot 36 © 2020 Bonhams & Butterfields Auctioneers Takashi Murakami,Tongari-kun (Mr. Pointy) Costume, 2003 Corp. All rights reserved. Post-War & Contemporary Art New York | Wednesday November 18, 2020 at 1pm EST BONHAMS INQUIRIES IMPORTANT NOTICES COVID-19 SAFETY STANDARDS 580 Madison Avenue Jacqueline Towers-Perkins Please note that all customers, Bonhams’ galleries are currently New York, New York 10022 +1 212 644 9039 irrespective of any previous activity subject to government restrictions bonhams.com with Bonhams, are required to have and arrangements may be subject to [email protected] proof of identity when submitting bids. change. SALE NUMBER Failure to do this may result in your bid Andrew Huber not being processed. Preview: Lots will be made available 26107 +1 917 206 1633 For absentee and telephone bids for in-person viewing by Lots 1 - 49 [email protected] we require a completed Bidder appointment only. Please contact Registration Form in advance of the the specialist department on AUCTION INFORMATION Sheida Ellini sale. The form can be found at the +1 917 717 0367 or contemporary.us@ Ralph Taylor back of every catalogue and on our bonhams.com to arrange an +1 917 717 0367 2063659-DCA website at www.bonhams.com appointment before visiting our [email protected] Jacqueline Towers-Perkins and should be returned by email to galleries. In accordance with 2068426-DCA the specialist department or to the Covid-19 guidelines, it is mandatory PRESS INQUIRIES Rupert Banner Client Services department at bids. -
Michael Clark (A.K.A
ARTIST MICHAEL CLARK: WASHINGTON April 3 – May 27, 2018 American University Museum at the Katzen Arts Center Washington, DC ALPER INITIATIVE FOR WASHINGTON ART FOREWORD Michael Clark (a.k.a. Clark Fox) has been an influential figure in the Washington art world for more than 50 years, despite dividing his time equally between the capital and New York City. Clark was not only a fly on the wall of the art world as the last half- century played out—he was in the middle of the action, making innovative works that draw their inspiration from movements as diverse as Pop Art, Op Art, Conceptual Art, Minimalism, and the Washington Color School. The result of this prolific and varied artistic oeuvre is that Clark’s output is too much for one show. After consulting with former Washington Post art critic Paul Richard, I decided Michael Clark: Washington Artist at the American University Museum would concentrate on his significant artistic contributions to the ‘60s, ‘70s, and ‘80s in Washington, DC. In line with his amazingly diverse and productive career, a conversation with Michael Clark is similar to drinking from a fire hose. In one sentence, he can jump from painting techniques using masking tape to making cookies for Jackie Onassis. My transcription of our conversation, presented here as a soliloquy, tries its best to maintain some kind of coherence and order, but in reality, I just tried to hold on for the ride. In contrast, the amazing thing about Clark’s art is how still, focused, and composed it is. The leaps and diversions of his lively mind are transmuted into an almost classical art, more Modigliani than Soutine, probably reflecting the time spent in his early years copying masterworks in the National Gallery of Art. -
Bulletin #3. Peeling Back Robert W. Newmann
Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio by Antonia 1. 1 Dapena-Tretter dRoSte eFfeCT �BULLETIN 3 Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio 3 WaSHingtoN InStaLlation art: 1. 2 COlor ScHoOl SuBtracTive RoOts: The EaRly LaYeRs 24 ARROws 7 ImmaTeRial Embracing the ScUlPtureS: Literal: ADditive CoNCePtUal Layers 15 CONcluSiONs 38 Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio — by Antonia Dapena-Tretter Abstract Unpacking Robert W. Newmann's portfolio requires a layered approach with equal attention paid to biography, aesthetics, and the larger art market of the 1970s to the present. These diverse methodologies intertwine to reveal the artist's surprising rejection of the Washington 1. 3 Color School tradition of ethereal stained canvases in favor of the real space of large-scale installations. Literal layers—taking the form of pigment added to the canvas or inches of substrate sandblasted away— Bulletin 3 separate Newmann's art from that of his teachers and serve as a common thread, tying together enormous shifts in practice and medium. Although each period of the artist's oeuvre reinforces his strong attraction to the experiential, the unexpected challenges of wedding an artwork to the space around it ultimately drove Newmann to accept and embrace the unavoidable nature of the immaterial. Peeling Back Robert W. Newmann — Narrative Portfolio Washington Post critic Paul Richard theorized that 1960s D.C.-based artists such as Kenneth Noland, Thomas Downing, and Gene Davis «worked from a particular sensibility, nourished by the grids and circles of the original L’Enfant plan.»1 If this is taken to be true, the hard- edged lines of the Washington Color School canvases were born from the same inspiration as Robert Newmann’s For Pierre L’Enfant (pic. -
Walking from Rfk Parking Lot #8 to Stadium-Armory Metro
WALKING FROM RFK PARKING LOT #8 TO STADIUM-ARMORY METRO STATION STEP 1: Exit buses STEP 2: Distribute metro cards to passengers STEP 3: Proceed with group to metro station After exiting bus, stay with your group and wait for metro cards to be distributed. Follow pathway out of parking lot onto Independence Ave. ENTRANCE TO METRO Proceed with group WEST on Independence Ave. towards 19th St. BUS Turn right on 19th St. Proceed towards Metro PARKING Station escalators. Enter Stadium-Armory Metro Station with your group. TAKING THE METRO FROM STADIUM-ARMORY METRO STATION TO FEDERAL CENTER SW METRO STATION PLEASE NOTE: The Labor Delegation will exit Metro one (1) stop AFTER all other participants (non-labor exiting at Capitol South Station) Marshals we be inside Stadium-Armory Metro Station to help direct you onto the correct train. Wait for your entire group to get metro cards and enter station. With your group, board any , any or any . Take train four (4) stops to FEDERAL CENTER SW STATION. Exit Metro with group at FEDERAL CENTER SW STATION. LABOR RALLY WALKING FROM FEDERAL CENTER SW METRO (DEPT. OF LABOR) STATION TO U.S. DEPARTMENT OF LABOR BUILDING (Location of Feeder March for Labor Delegation) Wait for your entire group to get exit Federal Center SW Metro Station at intersection of D St. SW and 3rd St SW. Proceed with group NORTH on 3rd St SW towards C St. SW Continue walking NORTH on 3rd St SW through National Mall grounds to Constitution Ave. NW Turn RIGHT on Constitution Ave. NW.