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THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art. -
Floating World: the Influence of Japanese Printmaking
Floating World: The Influence of Japanese Printmaking Ando Hiroshige, Uraga in Sagami Province, from the series Harbors of Japan, 1840-42, color woodcut, collection of Ginna Parsons Lagergren Utagawa Kuniyoshi, Poem by Sarumaru Tayû: Soga Hakoômaru, from the series Ogura Imitations of One Hundred Poems by One Hundred Poets, 1845-48, color woodcut, collection of Jerry & Judith Levy Floating World: The Influence of Japanese Printmaking June 14–August 24, 2013 Floating World explores the influence of Japanese ukiyo-e woodblock printmaking on American and European artists from the late 19th century to the present. A selection of Japanese prints sets the stage for Arts & Crafts era works by Charles Bartlett, Elizabeth Colborne, Arthur Wesley Dow, Frances Gearhart, Edna Boies Hopkins, Bertha Lum and Margaret Jordan Patterson. Woodcuts by Helen Franken- thaler illuminate connections between Abstract Expressionism and Japanese art. Prints by Annie Bissett, Kristina Hagman, Ellen Heck, Tracy Lang, Eva Pietzcker and Roger Shimomura illustrate the ongo- ing allure of ukiyo-e as the basis for innovations in printmaking today. In 1891, AmerIcAn ArtisT woodblock prints that depicted the ARThuR WESLEY DOW wrote that “floating world” of leisure and en- “one evening with Hokusai gave me tertainment. Artists began depicting more light on composition and deco- teahouses, festivals, theater and activi- rative effect than years of study of ties like the tea ceremony, flower ar- pictures. I surely ought to compose in an ranging, painting, calligraphy and music. entirely different manner.”1 Dow wrote Landscapes, birds, flowers and scenes of the letter after discovering a book of daily life were also popular. -
American Prints 1860-1960
American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago. -
Christine Giles Bill Bob and Bill.Pdf
William Allan, Robert Hudson and William T. Wiley A Window on History, by George. 1993 pastel, Conte crayon, charcoal, graphite and acrylic on canvas 1 61 /2 x 87 '12 inches Courtesy of John Berggruen Gallery, San Francisco, California Photograph by Cesar Rubio / r.- .. 12 -.'. Christine Giles and Hatherine Plake Hough ccentricity, individualism and nonconformity have been central to San Fran cisco Bay Area and Northern California's spirit since the Gold Rush era. Town Enames like Rough and Ready, Whiskey Flats and "Pair of Dice" (later changed to Paradise) testify to the raw humor and outsider self-image rooted in Northern California culture. This exhibition focuses on three artists' exploration of a different western frontier-that of individual creativity and collaboration. It brings together paintings, sculptures, assemblages and works on paper created individually and collabora tively by three close friends: William Allan, Robert Hudson and William T. Wiley. ·n, Bob and Bill William Allan, the eldest, was born in Everett, Washington, in 1936, followed by Wiley, born in Bedford, Indiana, in 1937 and Hudson, born in Salt Lake City, Utah, in 1938. Their families eventually settled in Richland, in southeast Washington, where the three met and began a life-long social and professional relationship. Richland was the site of one of the nation's first plutonium production plants-Hanford Atomic Works. 1 Hudson remembers Richland as a plutonium boom town: the city's population seemed to swell overnight from a few thousand to over 30,000. Most of the transient population lived in fourteen square blocks filled with trailer courts. -
California Modernism After World War Ii
1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years. -
PROGRAM GUIDE #Apsapril Aps.Org/Meetingapp Aps.Org/Meetings/April
APRIL MEETING 2018 April 14-17, 2018 quarks cosmos Columbus, Ohio Q2C PROGRAM GUIDE #apsapril aps.org/meetingapp aps.org/meetings/april Publish Your High Energy Physics Research in the Physical Review Journals APS supports the high-energy physics (HEP) community by providing authors a free and convenient route to publish HEP* research open access under the APS-SCOAP3 partnership. CHOOSE FROM THESE JOURNALS • No cost to authors Physical Review Letters • CC-BY 4.0 licence Physical Review C • Free global access Physical Review D • Broad dissemination • Greater exposure journals.aps.org *HEP papers covered by SCOAP3 are all those posted on arXiv.org prior to publication in any of the primary ‘hep’ categories: hep-ex, hep-lat, hep-ph, hep-th, and irrespective of the authors’ institution or country affiliation. WELCOME t is a pleasure to welcome you to Columbus, and to the APS April I Meeting 2018. The April Meeting is a wonderful gathering of enthusiastic scientists from diverse organizations and backgrounds who have broad interests in physics. Our meeting provides us with an opportunity to present exciting new work as well as to learn from others, and to meet up with colleagues and make new friends. While you are here, I encourage you to take every opportunity to experience the amazing science that envelops us at the meeting, and to enjoy the many additional professional and social gatherings offered. Additionally, this is a year for Strategic Planning for APS, when the membership will consider the evolving mission of APS and where we want to go as a society. -
Centenary of American Artist Jon Schueler (1916-1992) Celebrated Throughout 2016
FOR IMMEDIATE RELEASE April 25, 2016 CENTENARY OF AMERICAN ARTIST JON SCHUELER (1916-1992) CELEBRATED THROUGHOUT 2016 Solo and group exhibitions, both in the US and in the UK, will mark the centennial of Jon Schueler’s birth. A Jon Schueler symposium, The Sound of Sleat: Echoes, Reflections, and Transfigurations, moderated by Lindsay Blair, will take place at Sabhal Mòr Ostaig, the University of the Highlands and Islands, Isle of Skye, Scotland, May 27-29. Two shows at the beginning of April set off events in Scotland: at the University of Stirling and at the Heritage Centre in Mallaig, where Schueler had a studio from 1970 to 1992. In May, we move north to Ullapool for openings at An Talla Solais and at Rhue Art. On the Isle of Skye, Sabhal Mòr Ostaig --along with hosting the 2-day Schueler symposium--will show a selection of the artist's oils and works on paper. The college, like the fishing village of Mallaig, witnesses the The Search: Red and Grey, II, 1981, dramatic and mysterious weather patterns sweeping over the Sound of Sleat, the 48 x 40” (o/c 1173). University of Stirling Exhibition body of water that so often served as the source of Schueler's imagery and fantasies. For other exhibitions opening later in the year, see accompanying list. The stunning Schueler exhibition, Jon Schueler: Mapping Memory, at the Anderson Gallery, State University of Bridgewater, MA marked the opening of the 2016 celebrations in the United States. The Weisman Art Museum, Minneapolis, MN is currently featuring its collection of Schueler's paintings "as center pieces surrounded by forerunners and successors" in its exhibition, Clouds, Temporarily Seen. -
Venus Over Manhattan Is Pleased to Present an Exhibition of Work by Roy De Forest, Organized in Collaboration with the Roy De Forest Estate
Venus Over Manhattan is pleased to present an exhibition of work by Roy De Forest, organized in collaboration with the Roy De Forest Estate. Following the recent retrospective of his work, Of Dogs and Other People: The Art of Roy De Forest, organized by Susan Landauer at the Oakland Museum of California, the exhibition marks the largest presentation of De Forest’s work in New York since 1975, when the Whitney Museum of American Art staged a retrospective dedicated to his work. Comprising a large group of paintings, constructions, and works on paper—some of which have never before been exhibited—as well as a set of key loans from the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis, and the di Rosa Center for Contemporary Art, Napa, the presentation surveys the breadth of De Forest’s production. In conjunction with the presentation, the gallery will publish a major catalogue featuring a new text on the artist by Dan Nadel, along with archival materials from the Roy De Forest papers, housed at the Archives of American Art. The exhibition will be on view from March 3rd through April 25th, 2020. Roy De Forest’s freewheeling vision, treasured for its combination of dots, dogs, and fantastical voyages, made him a pillar of Northern California’s artistic community for more than fifty years. Born in 1930 to migrant farmers in North Platte, Nebraska, De Forest and his family fled the dust bowl for Washington State, where he grew up on the family farm in the lush Yakima Valley, surrounded by dogs and farm animals. -
2015-011315Fed
National Register Nomination Case Report HEARING DATE: OCTOBER 21, 2015 Date: October 21, 2015 Case No.: 2015-011315FED Project Address: 800 Chestnut Street (San Francisco Art Institute) Zoning: RH-3 (Residential House, Three-Family) 40-X Height and Bulk District Block/Lot: 0049/001 Project Sponsor: Carol Roland-Nawi, Ph.D., State Historic Preservation Officer California Office of Historic Preservation 1725 23rd Street, Suite 100 Sacramento, CA 95816 Staff Contact: Shannon Ferguson – (415) 575-9074 [email protected] Reviewed By: Timothy Frye – (415) 575-6822 [email protected] Recommendation: Send resolution of findings recommending that, subject to revisions, OHP approve nomination of the subject property to the National Register BACKGROUND In its capacity as a Certified Local Government (CLG), the City and County of San Francisco is given the opportunity to comment on nominations to the National Register of Historic Places (National Register). Listing on the National Register of Historic Places provides recognition by the federal government of a building’s or district’s architectural and historical significance. The nomination materials for the individual listing of the San Francisco Art Institute at 800 Chestnut Street were prepared by Page & Turnbull. PROPERTY DESCRIPTION 800 Chestnut Street, also known as the San Francisco Art Institute, is located in San Francisco’s Russian Hill neighborhood on the northwest corner of Chestnut and Jones streets. The property comprises two buildings: the 1926 Spanish Colonial Revival style original building designed by Bakewell & Brown (original building) and the 1969 Brutalist addition designed by Paffard Keatinge-Clay (addition). Constructed of board formed concrete with red tile roofs, the original building is composed of small interconnected multi-level volumes that step up from Chestnut Street to Jones Street and range from one to two stories and features a five-story campanile, Churrigueresque entranceway and courtyard with tiled fountain. -
W E S T C O a S T a R T S a N D C U L T U
free SWEST COAST ARTS AND CULTUREFAQ Jay DeFeo Jens Hoffmann Kathan Brown Bay Area Latino Arts Part 1: Enrique Chagoya - MENA Report Part 1: Istanbul Biennial with Jens Hoffmann - Scales Fall From My Eyes: Bay Area Beat Generation Visual Art as told to Paul Karlstrom - Peter Selz - Crown Point Press: Kathan Brown SFAQ Artist Spread - Paulson Bott Press - Collectors Corner: Peter Kirkeby Flop Box Zine Reviews - Bay Area Event Calendar: August, September, October West Coast Residency Listing SAN FRANCISCO ARTS QUARTERLY ISSUE.6 ROBERT BECHTLE A NEW SOFT GROUND ETCHING Brochure available Three Houses on Pennsylvania Avenue, 2011. 30½ x 39", edition 40. CROWN POINT PRESS 20 Hawthorne Street San Francisco, CA 94105 www.crownpoint.com 415.974.6273 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER berman_sf_quarterly_final.pdf The Sixth Los Angeles International Contemporary Art Fair September 30 - October 2, 2011 J.W. Marriott Ritz Carlton www.artla.net \ 323.965.1000 Bruce of L.A. B. Elliott, 1954 Collection of John Sonsini Ceramics Annual of America 2011 October 7-9, 2011 ART FAIR SAN FRANCISCO FORT MASON | FESTIVAL PAVILION DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach $48$$570,$0,D&20 VIP Preview Opening November 30, 2011 For more information contact: Public Hours December 1- 4, 2011 [email protected] 1.877.459.9CAA www.ceramicsannual.org “The best hotel art fair in the world.” DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach $48$$570,$0,D&20 VIP Preview Opening November 30, 2011 Public Hours December 1- 4, 2011 “The best hotel art fair in the world.” Lucas Soi ìWe Bought The Seagram Buildingî October 6th-27th For all your art supply needs, pick Blick. -
October 2007
Number 34 Fall 2007 NE W SLETTER MAHS Conference 2008, Chicago, Illinois, April 2-5, 2008 The Midwest Art History Society’s 35th annual meeting will be The MAHS business lunch will take place on Friday. On Friday held April 2-5, 2008 in Chicago. Hosted by Loyola University, evening the Museum of Contemporary Photography, Columbia Columbia College and the Art Institute of Chicago, the con- College Chicago, 600 S. Michigan, www.mcop.org will be the ference takes place with the partnership of DePaul University, location of a MAHS reception. Saturday morning, April 5, The Lake Forest College, and the School of the Art Institute Museum of Contemporary Art, 220 East Chicago Avenue, www. Chicago. Further assistance has been provided by the Museum of mcachicago.org, will host an early opening, continental breakfast, Contemporary Art and the Terra Foundation for the Arts. The and curator’s tour of the current exhibitions – “Alexander Calder conference hotel will be the Club Quarters, conveniently located in Focus” and selections of the museum’s permanent collection. in Chicago’s Loop at W. Adams Street. The conference’s morning sessions will also be held at the MCA. The conference sessions and programs Loyola University Museum of Art, 820 North Michigan Avenue have been selected with an eye to (just two blocks west of the MCA) www. showcasing areas of specialization luc.edu/LUMA, will be the site of a closely associated with Chicago and luncheon on Saturday. The conference’s its educational and cultural insti- afternoon sessions will be held at LUMA tutions. Additional emphases on on Saturday where “Gilded Glory: American and Renaissance art have European Treasures from the Martin been designed to coordinate with D’Arcy Collection” will be on view. -
The Modernist Studies Association Conference 2018 “Graphic Modernisms” Hilton Columbus Downtown Columbus, OH November 8-11, 2018
The Modernist Studies Association Conference 2018 “Graphic Modernisms” Hilton Columbus Downtown Columbus, OH November 8-11, 2018 Statement on Transgender Inclusion The Modernist Studies Association affirms and stands in support of the rights and dignity of our transgender and gender non-binary members and all other persons associated with our organization and conference. We believe that inclusivity, diversity, access, and equality are critical to the strength of our organization and the effectiveness of our academic mission. We are committed to maintaining a welcoming and inclusive organization where everyone can be their full self. This goal includes the practice of using individuals’ preferred name and pronoun reference when introducing speakers or citing their work or ideas. Special Events Plenary Sessions Plenary Session 1: A Conversation with Joe Sacco Thursday, 7:00pm - 8:15 pm Joe Sacco is an acclaimed graphic journalist and author of Palestine and Footnotes in Gaza, on the Israel-Palestine conflict, and Safe Area Gorazde and The Fixer, on the Bosnian War. He’s lived in Malta and the U.S., and has published additional pieces on blues music, war crimes, and Chechen refugees. His work has won the American Book Award, a Guggenheim Fellowship, and the Eisner Award. His recently published collaboration with Matt Hern and Am Johal, Global Warming and the Sweetness of Life, explores ecology and climate change in the tar sands region of Canada. Joe Sacco will be interviewed by Jared Gardner, Professor of English at Ohio State University and author of Projections: Comics and the History of 21st-century Storytelling (2012), The Rise and Fall of Early American Magazine Culture (2012), and Master Plots: Race and the Founding of an American Literature 1787-1845 (1998).