DOCSLIB.ORG

CV Amy Greenfield

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CV Amy Greenfield {CTS} creative thriftshop AMY GREENFIELD CURRICULUM VITAE Lives and works in New York Born 1950 | USA EDUCATION Harvard University, BA. SELECTED AWARDS Harvard University: Honored for Contribution to the Arts. Fulbright Foundation: Honored for Contribution to the Arts. Who’s Who in American Art. 2004 Worldfest Houston International Film Festival Prize Winner 1994 The Jerome Foundation: Grant in film. 1994 New York Times, 10 Best in Arts & Entertainment. 1990 New York State Council On The Arts: Grant In Film Distribution. 1990 Alliance Film Video Project, Prize Winner for “Antigone/Rites of Passion” 1987 National Endowment For The Arts: Grant for tour of FilmDance Curator. 1986 New York State Council On The Arts Regrant Program: Grant in film. 1985 New Hampshire Council For The Humanities: Grant In Film. 1985 National Endowment For The Arts: Grant in Dance/Film/Video. 1980-81 National Endowment For The Arts: Grant in Media. 1979 Atlanta Film Video Festival. Prize winner for “Videotape For A Woman And A Man” 1979-80 Rockefeller Foundation: Arts fellowship in Video and Holography. 1978-79 National Endowment For The Arts: Grant in Media. 1975-76 National Endowment For The Arts: Grant in Media. 1974 Prize-winner at Atlanta Film Festival 1973-75 Fellow of the Radcliffe Institute. 1971 Yale Film Festival, Prize winner. SELECTED SOLO EXHIBITIONS 2011 “Electromediascope,” curators Gwen Widmer and Patrick Clancy, Nelson-Atkins Museum Of Art, Kansas City, !MO. USA 2010 “Untitled Nude Amy Greenfield,” curator Lynn del Sol, {CTS} creative thriftshop @Dam, Stuhltrager Gallery !Brooklyn, NY. USA (catalogue) BROOKLYN, NY. 917.826.5550 [email protected] WWW.CREATIVETHRIFTSHOP.COM {CTS} creative thriftshop AMY GREENFIELD CURRICULUM VITAE 2009 “Club Midnight Flesh Into Light,” curator Jeff Goad, Leonard Nimoy Thalia Theater at Symphony Space, New !York, NY. USA 2008 “Club Midnight,” curator Barbara Scharres, Art Institute of Chicago’s Gene Siskel Film Center, Chicago, IL. !USA 2007 “Club Midnight,” curator Ray Privett, Two Boots Pioneer Theater, New York, NY. USA 2004 “Antigone/Rites Of Passion”, Summer Olympics Pre-Celebration, Athens, Greece 1999 “American Avant-Garde Film Amy Greenfield”, curator Michael Friend, Bologna Ritrovato, Bologna, Italy 1997 “The Body Hidden And Revealed”, curator Stefan Pierce, Harvard Film Archive, Cambridge, MA.USA 1997 “Raw-Edged Women”, curator David Koh, Anthology Film Archives, New York, NY. USA 1996 “Raw-Edged Women”, curator David Schwatrz, American Museum Of The Moving Image, Queens, NY. !USA 1996 “Raw-Edged Women”, curator Jonas Mekas, Anthology Film Archives, New York, NY. USA 1995 “Antigone/Rites Of Passion,” curator Dominique Bax, Theatres Au Cinema, Paris, France 1995 “Kultur Antigone/Rites Of Passion,” Russian National Television, Russia 1992 “Antigone/Rite Of Passion,” curator Milos Stehlick, Facets Multimedia, Chicago, IL. USA 1992 “Antigone/Rites Of Passion,” Village East Cinemas, New York, NY. USA 1991 “Antigone/Rites Of Passion,” curators Jytte Jensen and Lawrence Kardish, Museum of Modern Art, !New !York, NY. USA 1991 “Antigone/Rites Of Passion,” curator Jonas Mekas, Anthology Film Archives, New York, NY. USA 1991 “Antigone/Rites Of Passion,” curator Ken Wlaschin, American Film Institute at Laemmle Downtown, Los !Angeles, CA. USA 1991 “Antigone/Rites Of Passion,” Coolidge Corner Cinema, Boston, MA. USA 1991 “Antigone/Rites Of Passion,” curator Bruce Posner, Alliance Film Video Project, Miami, FL. USA 1990 “Antigone/Rites Of Passion,” American Film Festival, New York, NY. USA 1990 “American Independent Film Antigone/Rites Of Passion,” curator Linda Hansen, Berlin Film Festival, Berlin, !Germany 1990 “Antigone/Rites Of Passion,” curator Vlada Petric, Harvard Film Archive, Cambridge, MA. USA 1990 “Antigone/Rites Of Passion,” curator Gerald O’Grady, Media Study Buffalo, Buffalo, NY. USA 1985 “Amy Greenfield Video and Holography,” Boston Film Video Foundation, Boston, MA. USA 1985 “Video Dance of Amy Greenfield,” Dade County Library, Miami, FL. USA 1984 “Amy Greenfield: dance, film & video,” City Movie Center, Kansas City, MO.USA 1984 “Amy Greenfield Presentation and Discussion of Dance Videotapes,” curator Gerald O’grady, Media !Studies !Buffalo at Sunny Buffalo, Buffalo, NY. USA BROOKLYN, NY. 917.826.5550 [email protected] WWW.CREATIVETHRIFTSHOP.COM {CTS} creative thriftshop AMY GREENFIELD CURRICULUM VITAE 1983 “Cineprobe An Evening With Amy Greenfield,” curator Lawrence Kardish, Museum of Modern Art, New !York, NY. USA 1983 “Amy Greenfield New Video And Holography,” curators Howard Guttenplan and Bob Harris, The !Millennium Film Workshop, New York, NY. USA 1982 “Amy Greenfield,” curator Alassandro Silj, Video Roma, Rome, Italy 1982 “Amy Greenfield,” Coolidge Corner Cinema, Boston, MA. USA 1982 “Soho Cable,” curator Jaime Davidovitch, Manhattan Cable Television, New York, NY. USA 1981 “Amy Greenfield,” curator Edith Kramer, Pacific Film Archives, Berkeley, CA. USA 1981 “Amy Greenfield Film And Holography,” San Francisco Cinematheque at the San Francisco Art Institute, San !Francisco, CA. USA 1981 “Meet The Makers Video Amy Greenfield,” Donnell Library Center NY Public Library, New York, NY. USA 1981 “Amy Greenfield,” curator Charles Reinhart, American Dance Festival, Durham, SC. USA 1980 “Amy Greenfield The Wave Holography and Film Loops,” curated by Jenny Okun, Film London Third !International Avant-Garde Festival, Hayward Gallery London, London, England 1980 “Amy Greenfield film and Holography in Independent Filmmakers,” Dryden Theater at George Eastman !House, Rochester, NY. USA 1980 “Amy Greenfield video,” Portable Channel, Rochester, NY. USA 1980 “The Wave Holography & Video,” curator Robert Harris, PS1 Art Space, Queens, NY. USA 1979 “Amy Greenfield video,” curator David Ross, Institute of Contemporary Art, Boston, MA. USA 1979 “Amy Greenfield Film and Holography,” Portland Art Museum, Portland OR. USA 1979 “Amy Greenfield,” curator Douglas Edwards, UCLA, Los Angeles, CA. USA 1979 “Videotape For A Woman And A Man,” curator William Judson, Carnegie Institute, Pittsburgh, PA. USA 1979 “Amy Greenfield,” curator Robert Haller, Pittsburgh Film-Makers, Pittsburgh, PA. USA 1979 “Amy Greenfield,” Marquette College, Milwauki, WS. USA 1978 “Amy Greenfield,” curators John Reilly and Julie Gustafson, Global Village, New York, NY. USA 1978 “Amy Greenfield,” curators Elaine Summers, Experimental Intermedia Foundation, New York, NY. USA 1977 “Pittsburgh Filmmakers,” curator Robert Haller, Pittsburgh, PA. USA 1976 “The Video Art of Amy Greenfield,” curator Shigeko Kubota, Anthology Film Archives, New York, NY. !USA 1975 “Amy Greenfield Video and Live Performance,” curator Carlotta Schoolman, The Kitchen Center For !Video, !Music And Dance, New York, NY. USA 1973 “Video Art by Amy Greenfield,” curator Steina Vasulka, The Kitchen Center For Video, Music And Dance,, !New York, NY. USA 1972 “Amy Greenfield,” Lincoln Center Auditorium for the Performing Arts, New York, NY. USA BROOKLYN, NY. 917.826.5550 [email protected] WWW.CREATIVETHRIFTSHOP.COM {CTS} creative thriftshop AMY GREENFIELD CURRICULUM VITAE 1972 “Amy Greenfield,” curator Howard Guttenplan, The Millennium, New York, NY. USA SELECTED GROUP EXHIBITIONS 2010 “Indomitable Women section of Pandora’s Box,” curator Macu Moran, BAC! 10, Center of Contemporary !Culture of Barcelona and Fundacio Miro, Barcelona, Spain 2010 “Camera Dance,” curator Jenelle Porter, Institute Of Contemporary Art, Philadelphia, PA. USA 2009 “Poetry And Film,” curator Angela Joose, Belladonna and Cuny of the New Feminist Poetics & Activism, !CUNY Graduate Center, New York, NY. USA 2009 “The Futurist Impulse After Futurism,” curator Robert Haller, Anthology Film Archives, New York, NY. !USA 2009 “La Danse des corps,” Festival Tout Court, Provence, France 2009 “Liquid Films,” presenter Anna Brady Nuse, Kinetic Cinema at The Tank, New York, NY. USA 2009 “Women Forward First Biennial Of Women In the Arts,” curator Yuko Nii, Williamsburg Art and Historical !Society, Brooklyn, NY. USA (catalogue) 2008 “Cinema Dance Eros Amy Greenfield and Kenneth Anger,” curator John Mhiripiri, Anthology Film !Archives, New York, NY. USA 2007 “Cine Dance in America,” curator Bruce Posner, National Gallery of Art, Washington, DC. USA 2007 “From Darkness To Light,” curator William Woods, New Filmmakers, Anthology Film Archives, New York, !NY. !USA 2007 “Cine-Dance After Maya Deren,” curators Robert Haller with Deirdre Towers and Joanna Ney, Dance On !Camera Lincoln Center, New York, NY. USA 2006 “Club Midnight,” Silverlake Film Festival, Los Angeles, CA. USA 2006 “Club Midnight,” Boston International Film Festival, Boston, MA. USA 2006 “Poetry And Sex,” curator Bob Holman, Bowery Poetry Club, New York, NY. USA 2004 “Williamsburg Surreal Film Festival”, curator Keith Wigdor, Williamsburg Art and Historical Society, !Brooklyn, NY. USA 2004 “Short Films,” Worldfest Houston International Film Festival, Houston, TX. (prize winner) 2003 “Short Films,” Sao Paulo Film Festival, San Paulo, Brazil 2003 “Short Films,” Denver Film Festival, Denver, CO. USA 2003 “Panorama Short Films,” curator Marguerite Von Schiller, Berlin Film Festival, Berlin, Germany 2000 “The Color Of Ritual The Color Of Thought Women Avant-Garde Filmmakers In America 1930-2000,” curator !Chrissie Iles, Whitney Museum of American Art, New York, NY. USA 1998 “Dancers,” curator Robert Haller, Anthology Film Archives, New York, NY. USA BROOKLYN, NY. 917.826.5550 [email protected] WWW.CREATIVETHRIFTSHOP.COM
Load more

Recommended publications
  • Nosferatu (The Undead)
    NEWS 500 University Ave., Rochester, NY 14607-1484 585.276.8900 • mag.rochester.edu MAG Contact: Rachael Unger, Director of Marketing and Engagement: 585.276-8934; [email protected] MEMORIAL ART GALLERY PRESENTS NOSFERATU (THE UNDEAD) April 22–June 17, 2018 Rochester, NY, March 5th 2018 — The Memorial Art Gallery of the University of Rochester (MAG) is pleased to announce NOSFERATU (The Undead), a film installation by New York-based artist Javier Téllez that focuses on cinema and mental illness. The work will premiere at MAG on April 22 and remain on view through June 17. NOSFERATU (The Undead) is the first exhibition to be presented as part of “Reflections on Place,” a series of media art commissions inspired by the City of Rochester, New York, and curated by world-renowned authority on the moving image John G. Hanhardt. Téllez’ film was inspired by Nosferatu, eine Symphonie des Grauens, the expressionist silent masterpiece directed by F. W. Murnau in 1922. Téllez made the work in collaboration with people living with mental illness after a series of workshops that he conducted on the subjects of vampirism and the representation of psychiatric institutions in film. Combining black-and-white 16mm and color digital film, NOSFERATU (The Undead) was shot at the Eastman Kodak factory, the Dryden Theatre of the George Eastman Museum, and at the Main Street Armory, all in Rochester. “We chose a vampire for the main character of the film,” said Téllez, “because we wanted to reflect on light and darkness as the fundamental principles of
    [Show full text]
  • Research Resources at the Smithsonian American Art Museum Amelia A
    From La Farge to Paik Research Resources at the Smithsonian American Art Museum Amelia A. Goerlitz A wealth of materials related to artistic interchange between the United States and Asia await scholarly attention at the Smithsonian Institution.1 The Smithsonian American Art Museum in particular owns a remarkable number of artworks that speak to the continuous exchange between East and West. Many of these demonstrate U.S. fascination with Asia and its cultures: prints and paintings of America’s Chinatowns; late-nineteenth- century examples of Orientalism and Japonisme; Asian decorative arts and artifacts donated by an American collector; works by Anglo artists who trav- eled to Asia and India to depict their landscapes and peoples or to study traditional printmaking techniques; and post-war paintings that engage with Asian spirituality and calligraphic traditions. The museum also owns hundreds of works by artists of Asian descent, some well known, but many whose careers are just now being rediscovered. This essay offers a selected overview of related objects in the collection. West Looks East American artists have long looked eastward—not only to Europe but also to Asia and India—for subject matter and aesthetic inspiration. They did not al- ways have to look far. In fact, the earliest of such works in the American Art Mu- seum’s collection consider with curiosity, and sometimes animosity, the presence of Asians in the United States. An example is Winslow Homer’s engraving enti- tled The Chinese in New York—Scene in a Baxter Street Club-House, which was produced for Harper’s Weekly in 1874.
    [Show full text]
  • Celebrating Creativity a Memorial Art Gallery Project Provides a Showcase for ‘Hidden’ Creativity
    RELATIONSHIP SCIENCE IT’S A BIRD! A CENTURY OF DENTISTRY Pioneering psychologist Geophysicist finds The Eastman Institute for Oral explores human bonds an ancient species Health marks its centennial UNIVERSITY OF ROCHESTER /JaNUary–FEbruary 2017 Celebrating Creativity A Memorial Art Gallery project provides a showcase for ‘hidden’ creativity. RochRev_Jan2017_Cover.indd 1 12/23/16 3:00 PM “Giving back to the community I work in means the world to me. I get an enormous sense of fulfillment every time I see my young patients and their families LEADING BY smiling. That feeling fuels me and inspires me to The Value of Giving want to do more. I’m proud of my membership in the FOR DEANNE “DEE” MOLINARI ’58, George Eastman Circle, which allows me to provide the oldest of four children in a family of support in a way that affects the greatest change.” EXAMPLE modest means, attending the University of —Sean McLaren’03D (Den), ’06D (Den), chair and program director Rochester was a dream come true. AND INSPIRING of Pediatric Dentistry, Eastman Institute for Oral Health A Founding Member of the Wilson Society, Member, George Eastman Circle SMILES Supports: Eastman Institute for Oral Health Dee is now helping to provide a similar experience for talented students who might not otherwise be able to afford it with the Molinari Family Scholarship Fund at the Eastman School of Music. The scholarship, which honors her family’s appreciation for music, was created through a provision in her will and a charitable gift annuity that pays her a rate of six percent for life.
    [Show full text]
  • Collaborations in Conserving Time-Based Art
    Collaborations in Conserving Time-Based Art A Summary of Discussion Group Sessions of a Colloquium Co-organized by the Lunder Conservation Center Of the Smithsonian American Art Museum and National Portrait Gallery And the Hirshhorn Museum and Sculpture Garden May 2010 Office of Policy and Analysis Washington, DC 20013 Foreword In January 2010, the Office of Policy and Analysis (OP&A) was approached by members of the Time- Based Art Working Group to assist with conceptualizing and facilitating a series of group discussions attached to the planned symposium “Collaborations in Conserving Time-Based Art.” OP&A was also asked to provide a written report summarizing the main points raised in these sessions, which brought together curators, conservators, artists, archivists, and other experts from the Smithsonian and external organizations to ponder the emerging challenges of acquiring, documenting, displaying, and preserving art created in non-traditional media such as film, video, and computer software. For several years, and especially since the arrival of Secretary G. Wayne Clough in the summer of 2008, the Smithsonian has been ramping up efforts to address the evolving opportunities and challenges posed by the digital age. Many, although not all, of the issues raised in the “Collaborations in Conserving Time-Based Art” colloquium closely parallel those raised in wider pan- Institutional discussions of digitization and digital access: how to ensure adequate storage space for growing digital assets; how to recover information recorded on obsolete (digital and non-digital) platforms; how to systematize workflows and communications across technical and content areas that have traditionally operated at arm’s length; how to train new generations of specialists with combined content and technical skills; how to deal with new legal and ethical issues of accessibility, now that the Web has made it possible to share Smithsonian assets with the world at practically no marginal cost.
    [Show full text]
  • Diana Thater Born 1962 in San Francisco
    This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diana Thater Born 1962 in San Francisco. Lives and works in Los Angeles. EDUCATION 1990 M.F.A., Art Center College of Design, Pasadena, California 1984 B.A., Art History, New York University SOLO EXHIBITIONS 2020 Diana Thater: Yes there will be singing, David Zwirner Offsite/Online: Los Angeles [online presentation] 2018 Diana Thater, The Watershed, Institute of Contemporary Art, Boston 2017-2019 Diana Thater: A Runaway World, The Mistake Room, Los Angeles [itinerary: Borusan Contemporary, Istanbul; Guggenheim Bilbao, Bilbao, Spain] 2017 Diana Thater: The Starry Messenger, Moody Center for the Arts at Rice University, Houston, Texas 2016 Diana Thater, 1301PE, Los Angeles 2015 Beta Space: Diana Thater, San Jose Museum of Art, California Diana Thater: gorillagorillagorilla, Aspen Art Museum, Colorado Diana Thater: Life is a Timed-Based Medium, Hauser & Wirth, London Diana Thater: Science, Fiction, David Zwirner, New York Diana Thater: The Starry Messenger, Galerie Éric Hussenot, Paris Diana Thater: The Sympathetic Imagination, Los Angeles County Museum of Art [itinerary: Museum of Contemporary Art Chicago] [catalogue] 2014 Diana Thater: Delphine, Saint-Philibert, Dijon [organized by Fonds régional d’art contemporain Bourgogne, Dijon] 2012 Diana Thater: Chernobyl, David Zwirner, New York Diana Thater: Oo Fifi - Part I and Part II, 1310PE, Los Angeles 2011 Diana Thater: Chernobyl, Hauser &
    [Show full text]
  • Tina Rivers Ryan
    McLuhan’s Bulbs: Light Art and the Dawn of New Media Tina Rivers Ryan Submitted in partial fulfillment of the requirements for the degree of Doctor in Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Tina Rivers Ryan All rights reserved ABSTRACT McLuhan’s Bulbs: Light Art and the Dawn of New Media Tina Rivers Ryan “McLuhan’s Bulbs” argues that the 1960s movement of “light art” is the primary site of negotiation between the discourses of “medium” and “media” in postwar art. In dialogue with the contemporaneous work of Marshall McLuhan, who privileged electric light as the ur- example of media theory, light art eschewed the traditional symbolism of light in Western art, deploying it instead as a cipher for electronic media. By embracing both these new forms of electronic media and also McLuhan’s media theory, light art ultimately becomes a limit term of the Greenbergian notion of medium-specificity, heralding the transformation of “medium” into “media” on both a technological and a theoretical level. This leads to a new understanding of the concept of media as not peripheral, but rather, central to the history and theory of contemporary art. Drawing on extensive archival research to offer the first major history of light art, the project focuses in particular on the work of leading light artist Otto Piene, whose sculptural “light ballets,” “intermedia” environments, and early video projects responded to the increasing technological blurring of media formats by bringing together sound and image, only to insist on the separation between the two. Piene’s position would be superseded by the work of light artists who used electronic transducers to technologically translate between light and other phenomena, particularly sounds.
    [Show full text]
  • Exploring Shigeko Kubota's Soho Soap
    UNIVERSITY OF CALIFORNIA, IRVINE The Space Between: Exploring Shigeko Kubota’s SoHo SoAp/ Rain Damage and Yoko Ono’s Sky TV in Third Space THESIS submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in Art History by Jaimie Chanmi Joo Thesis Committee: Professor Bert Winther-Tamaki, Chair Professor Roberta Wue Professor Roland Betancourt 2019 © 2019 Jaimie Chanmi Joo DEDICATION To My Parents I am forever indebted to your love, support, humor, and kindness. I do not know what I did in any of my past lives to deserve you both as my parents. My best guess is that I saved a country; that’s the only thing that makes sense. Thank you for everything. And To my friends I am so grateful that you all kept me rooted throughout this project. I count my blessings every day that our lives intersected the ways they have. Thank you for all of our adventures. Here’s to many more. ii TABLE OF CONTENTS Page Acknowledgements iii Abstract iv I. Introduction: Locating Sky TV and SoHo SoAp/ Rain Damage in Third Space Theory 1 II. Transcendence in the Rain and in the Sky: Examining SoHo SoAp/Rain Damage and Sky TV 6 III. Conclusion: Elevating Earth-- an Epilogue 19 Bibliography 22 iii ACKNOWLEDGMENTS I would like to express the deepest appreciation to my faculty advisor, Professor Bert Winther- Tamaki. Without his guidance, support, and encouragement this thesis would not have been possible. I am so grateful and humbled to have been able to work with such an amazing scholar and teacher in my lifetime.
    [Show full text]
  • Independent Study Program : 40 Years : Whitney Museum of American Art, 1968-2008
    W INDEPENDENT STUDY PROGRAM: 40 YEARS ^,-K 1^ .dW} 'BUW Of ^OWI» SMOUIO COM* AS MO SUffPffiM <^ lM4r<ON ON P^OOfCI icciivrvics o* *(vOiuriONjt*iM AMit w 'liNrvtrAiif AMCI« o»M«ri C/INll 4 UMfUlMOriv/iriN0»O»CI *Mr ii/»p. u\ » <MMO>>ll oncu»r n FHi APPsurB 4'i vtiPOMM rOMOir v;ru4trOf<i lkl*>ON( i WH)«« .1 (OU*U » IMPCWrXNt HtlP'/OIV*l PIOPII olMVVi IPiCl CONCISIIOMI >4 rnlL/lMISSis A SCKlil KOr * (lOlOC'OK 14 '•IIOCW rj 4 lOJUPr NOT 4 NICItlltr COviaMMINr II 4 (ufolN OM IMI PfOFlf MLiwAvw i oasoirri 014,1 4>| |v|Mru4u r >IPl4CI0IVCONVIMriOM41CO41S >MMI>it4MCI Mutr •! 4SU1'IM(0 mil 'NO 4uM4vO<04ill •urUNOrMiNO TO U ncHJO Ol i4»o» i» 4 iix oitr*oriNC 4crn'iri' MONIr C*l4tfS T4tri M0441S 4(1 >0*tirnf PfOPtt MOjr PIOPII 4» MOI nf tOtUll THIMSIlVIt MOiri r roi/ iMOuio M/VO rou* 0<VM (uliNISt MUCH A4\ OIC'OIO aifO*! roo MOI aoRM MOtO(»M4J r\ MIU41 MOI »4.N C4N ai 4 viar potirivf tkimc >fOPll4>|MU't.< fHlrFMIM. fMITCONtaOj INI.ai,»ll 'i<jPii*Mc,oo«. r«o»« >V'rHrMi,>N4N014air4a4t<rM 'lOPlI l*MOCOC»4/r 4*1 lOO W«l/rivl PIO^K MOt < aiH*.! .» IHI? H4VI MOtMlMO TOIOSI P14riMC .r 1411 t4NC4ull 4lOro» p»ri-4r( 04M4CI oi*x(»\«,p ,j 4M iMvir4rioN rooij4»ria •0*«4M».c lovl M4t <^f»|s^|o roM4M,Pui4ri aVOMlM Mii.VHNm „ ,„, M05ra4vc M0-..4-.0N UP4t4>.U<.t tMl M4r fO 4 MIA mo MMMC U« 0<"I>IMCII 4*1 Miai roiI4.
    [Show full text]
  • Rona Pondick 1952 Born in Brooklyn, New York
    Rona Pondick 1952 Born in Brooklyn, New York EDUCATION 1977 M.F.A., Yale University School of Art 1974 B.A., Queens College PUBLIC COLLECTIONS Albright-Knox Art Gallery, Buffalo Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio Bates Museum of Art, Lewiston, Maine Boston Museum of Fine Arts, Boston Brooklyn Museum of Art, Brooklyn Carnegie Museum of Art, Pittsburgh Centre Pompidou, Paris Cleveland Museum of Art, Cleveland DeCordova Sculpture Park + Museum, Lincoln, Massachusetts Denver Art Museum, Denver Fogg Art Museum, Harvard University, Cambridge Fondation pour l’art contemporain Claudine et Jean-Marc Salomon, Annecy, France High Museum of Art, Atlanta Houghton Library, Harvard University, Cambridge The Israel Museum, Jerusalem Los Angeles County Museum of Art, Los Angeles The Metropolitan Museum of Art, New York The Morgan Library & Museum, New York Museum of Contemporary Art, Los Angeles Nasher Sculpture Center, Dallas 2 National Gallery of Art, Washington, D.C. The Nelson-Atkins Museum of Art, Kansas City, Missouri New Orleans Museum of Art, Sculpture Garden, New Orleans New York Public Library, New York Norton Family Foundation, Santa Monica Philadelphia Museum of Art, Philadelphia Portland Museum of Art, Portland, Maine The Progressive Collection, Cleveland Rooseum, Malmö, Sweden The Rose Art Museum, Brandeis University, Waltham, Massachusetts San Francisco Museum of Modern Art, San Francisco Savannah College of Art & Design, Savannah, Georgia Simmons College, Boston Sinai Temple, Los Angeles Toledo Museum of Art, Toledo
    [Show full text]
  • REQUEST for PROPOSAL Memorial Art Gallery Media Arts Campaign (2017)
    500 University Avenue Rochester, NY 14607-1484 585.276.8900•mag.rochester.edu REQUEST FOR PROPOSAL Memorial Art Gallery Media Arts Campaign (2017) Background Introduction The Memorial Art Gallery at the University of Rochester—or MAG, as it is affectionately known—was founded in 1913 and is one of a select number of university-affiliated art museums in the country that is also a major community art museum. It welcomes more than 225,000 people per year, including thousands of schoolchildren. Located in downtown Rochester, MAG’s 14-acre campus, which now includes the Centennial Sculpture Park, houses an encyclopedic collection of 5,000 years of world art. Referred to as a “mini MET,” the museum’s permanent collection of more than 12,000 objects has been called the State’s best-balanced collection outside New York City. Important holdings include master works by Winslow Homer, Jacob Lawrence, Georgia O’Keefffe, Thomas Gainsborough, Rembrandt van Rijn, and Claude Monet. The European collection features a permanent loan of the only full-size Italian Baroque organ in North America. The collection also provides surveys of ancient and Asian art, as well as a wide-ranging group of vernacular American and non- Western native art objects. MAG hosts a year-round schedule of exhibitions, including the recent Meleko Mokgosi: Pax Kaffraria, organized by director Jonathan P. Binstock. In addition to exhibitions, the museum programs lectures, concerts, family days, and social events, including fan favorites “Valentine Schmalentine,” “Museum of the Dead,” and the Clothesline Art Festival, Rochester’s largest and longest-running fine arts and crafts festival.
    [Show full text]
  • PRIVATE MONEY and PERSONAL INFLUENCE
    8 AFTERIMAGE/January 1987 PRIVATE MONEY AND MARITA STURKEN There are few names in the Western world that evoke as weighty an image as the name Rockefeller. Power, prestige, philanthropy, cultural imperialism, and the old-boy network all come to mind. This name sums up the raw power of capitalism before the days of government regulation, antitrust laws, and income tax . To most ofthe U .S. public, it represents an extended, family-based power structure of phenomenal influence. The Rockefeller Foundation, while no longer a family institution, symbolizes the power invested in those who choose to use their wealth to effect change in the world. Like many private foundations, it was founded as a means of promoting change with and establishing a beneficent image for a newly amassed fortune; it was also an attempt to change the reputation of "tainted money" that had plagued the Rockefeller fortune. From its inception, it was a globally conceived organization, begun with $100 million from John D . Rockefeller Sr. i n 1913' and aimed at establishing a last- ing role for the Rockefeller fortune. The foundation was the brainchild of Rockefeller's trusted manager Frederick T. Gates. Of the foundation, Gates wrote: I trembled as I witnessed the unreasoning popularresentment at Mr. Rockefeller's riches, to the mass of people, a national menace. It was not, however, the unreasoning public prejudiceof hisvastfortunethat chiefly troubled me. Was ittobe handed on to posterityas other great fortunes have been handed down by their possessors, with scandal- ous results to their descendants and powerful tendencies to social demoralization? Media Arts Center Conference Steering I saw no other course but for Mr.
    [Show full text]
  • Interplay of Perspectives: History, Art & Culture + Science, Interdisciplinary Crossover and Collaboration, September 2010
    Interplay of Perspectives: History, Art & Culture + Science Interdisciplinary Crossover and Collaboration Report prepared for the Office of the Secretary by the Office of Policy and Analysis Smithsonian Institution September 2010 Cover image: M.C. Escher, Circle Limit III, 1959 Circle Limit III pictorially represents hyperbolic space, a non-Euclidian form of geometry. From a mathematical point of view, it is one of Escher’s most important works. Indeed, this image has been used by cosmologists as a visual explanation of what could happen at the boundaries of the universe (Bright, 2000). Preface Few would dispute the notion that many of the problems that the world faces today are large and complex. Solving them requires a strong intellectual orientation that draws upon history, art, culture and science. Major universities and a few other institutions have the potential to transcend disciplines, and when they do, much of their interdisciplinary work occurs outside formal channels. The Smithsonian Institution is well positioned to break down compartmentalization between the social and behavioral sciences and humanities, to assemble a portfolio of influential work, and to positively execute its mission: the increase and diffusion of knowledge. The driving force for mobilization of the staff s’ talents and energies is directly related to the four grand challenges presented in the Institution’s new Strategic Plan: Inspiring Generations Through Knowledge and Discovery. How collaboration and discovery among disciplines occurs and what benefits accrue are the topics of this exploratory study. Because the Office of Policy and Analysis (OP&A) previously conducted an in depth study of the processes involved in managing interdisciplinary work, this study describes both group and individual activities and discusses promising projects that have yielded returns mainly in the form of innovation, determination, understanding and inspiration.
    [Show full text]