The Ithacan, 1967-04-07
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
Campus Landscape Notebook
CAMPUS LANDSCAPE NOTEBOOK Campus Planning Office May 2005 ACKNOWLEDGMENTS The Campus Landscape Notebook, 2005, was produced in the Cornell Campus Planning Office under the direction of the University Planner, Minakshi Amundsen. John Ullberg, Landscape Architect, composed text, provided photographs and many graphics. Illiana Ivanova, graphic designer, composed and formatted content and created graphics as well. Andrew Eastlick produced campus base maps. Craig Eagleson provided both technical support and graphic advice. Many others have contributed to the project by editing, researching and advising. Among them are Laurene Gilbert, Ian Colgan, Jim Constantin, Dennis Osika, Frank Popowitch, Peter Karp, Don Rakow, Helen Baker, Craig Eagleson, Phil Cox, Jim Gibbs and Kent Hubbell. Photo Credits p2- Libe Slope White Oak- Robert Barker, Cornell University Photography p5- Aerial view of campus- Kucera International, Inc. All other aerial views except otherwise noted- Jon Reis (www.jonreis.com) CAMPUS LANDSCAPE NOTEBOOK INTRODUCTION S E C T I O N 1 THE CAMPUS LANDSCAPE, PAST TO PRESENT ORIGINS. 9 HISTORY AND EVOLUTION. 11 CHRONOLOGY . 21 FUTURE . 23 THE CAMPUS EXPERIENCE . 25 S E C T I O N 2 LANDSCAPE SYSTEMS AT CORNELL PHYSIOGRAPHY . 31 THE OPEN SPACE SYSTEM . .33 THE WORKING LANDSCAPE. .35 LINKS. .37 GEOMETRY. 39 ARCHITECTURE. .41 WAYFINDING. .45 VIEWS. 47 LANDSCAPE VOCABULARY. 49 LANDMARKS. .55 SUMMARY. .59 INTRODUCTION Landscape has meaning. The quality and meaning of the living and learning experience at Cornell are fundamentally related to the quality of the campus environment. For six years a political prisoner of the communist By any measure Cornell’s is a remarkable landscape - deep wild gorges, government in Laos, the former Laotian official said lakes, cascades, noble buildings set among noble trees, expansive views he was sustained by memories of Cornell Univer- all contribute to a special presence that sets Cornell apart from its peers. -
Architectsnewspaper 11 6.22.2005
THE ARCHITECTSNEWSPAPER 11 6.22.2005 NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95 GUGGENBUCKS, GUGGENDALES, CO GUGGENSOLES 07 MIAMI NICE LU ARTISTIC Z O GO HOME, LICENSING o DAMN YANKEES 12 Once again, the ever-expanding Guggenheim is moving to new frontiers. TOP OF THE A jury that included politicians, Frank CLASS Gehry and Thomas Krens has awarded 4 the design commission for the newest 17 museum in the Guggenheim orbitto VENTURI AND Enrique Norten for a 50-story structure on a cliff outside Guadalajara, Mexico's sec• SCOTT BROWN ond-largest city. The museum will cost BRITISH TEAM WINS VAN ALEN COMPETITION PROBE THE PAST the city about $250 million to build. 03 EAVESDROP But there is now a far less expensive 18 DIARY range of associations with the Guggenheim 20 PROTEST Coney Island Looks Up brand. The Guggenheim is actively 23 CLASSIFIEDS exploring the market for products that it On May 26 Sherida E. Paulsen, chair of the Fair to Coney Island in 1940, closed in 1968, can license, in the hope of Guggenheim- Van Alen Institute's board of trustees, and but the 250-foot-tall structure was land- ing tableware, jewelry, even paint. An Joshua J. Sirefman, CEO of the Coney marked in 1989. eyewear deal is imminent. Island Development Corporation (CIDC), Brooklyn-based Ramon Knoester and It's not the museum's first effort to announced the winners of the Parachute Eckart Graeve took the second place prize license products but it is its first planned Pavilion Design Competition at an event on of S5,000, and a team of five architects strategy to systematize licensing. -
Louise Bourgeois Turning Inwards
Turning Inwards Turning Louise Bourgeois Hauser & Wirth Somerset 2 October 2016 – 1 January 2017 Education Guide This resource has been produced to accompany the exhibition, ‘Louise Bourgeois. Turning Inwards’, at Hauser & Wirth Somerset. Hauser & Wirth Somerset is a pioneering world-class gallery and multi-purpose arts centre, which provides a destination for experiencing art, architecture and the remarkable Somerset landscape through new and innovative exhibitions of contemporary art. A landscaped garden, designed for the gallery by internationally renowned landscape architect Piet Oudolf and the Radić Pavilion (the Serpentine Gallery 2014 Pavilion), designed by Chilean architect Smiljan Radić, both sit behind the galleries. This publication is designed for teachers and students, to be used alongside their visit to the exhibition. It provides an introduction to the artist Louise Bourgeois, identifies the key themes of her work and makes reference to the historical and theoretical contexts in which her practice can be understood. It offers activities, which can be carried out during a visit to the gallery and topics for discussion and additional research. The exhibition features a body of painting, print, drawing and sculpture, most of which has been curated in relation to the existing farm buildings and new architecture at Hauser & Wirth Somerset, creating a new environment and experience of Louise Bourgeois’s work in Somerset. Oudolf Field, Hauser & Wirth Somerset 2016. Photo: Jason Ingram About Louise Bourgeois Louise Joséphine Bourgeois was born in Paris 1977 and 2002, Bourgeois was the recipient on Christmas Day in 1911. She was one of three of 7 Honorary Doctorates of Fine Arts from children; their parents ran an Aubusson tapestry institutions such as Yale University and the Art restoration business and a tapestry gallery in Paris. -
AGWAY PETROLEUM CORPORATION HEATING OILS - GASOLINE - 24 HR, BURNER SERVICE Phone 272-8002 505 TAUGHANNOCK
AGWAY PETROLEUM CORPORATION HEATING OILS - GASOLINE - 24 HR, BURNER SERVICE Phone 272-8002 505 TAUGHANNOCK ITHACA DIRECTORY 265 DWORSKY LEONARD B (Diana) prof and dir Water Resources and Marine Sciences Center Cornell University h8 Winthrop pi Dwyer Thos F acct CU rl40 Giles Dyce Elton J prof emeritus CU res Flon do Lee Snow Dvce Rolf B research assoc CU res Are c.bo CLSTOM HOME Bl'lLDEU PR Dyckes Douglas F (Martha) postdoctoral assoc Planning Assistance CU h20 NT r i phammer rd (E2-5) . 273-6651 Dyckman Thos R (Alice A) prof CU h402 Win 140Snyder Hill Rd., Ithaca throp dr Dyer Lee D (Beth M) asst prof CU h 1001 EState Earle Wendell G r Fr oncel io) prof CU and 1st DYKEMA NORMAN D (Ellen F) v-pres-sales v-pres Tompkins County United Fund Inc mgr Morse Borg-Warner h5 Sandra pi h1318 Hanshaw rd Coy Hts Dykeman Peter A grad asst CU res Trumansburg Earnhardt Kent C instr CU r117 Sibley Dymek Eug J (Florence) dir Life Safety Ser East Geo h 109 Hyers CU h107 Midway rd East Hill School Doni Lee pr in 105-109 Stevorr Dzikiewicz MarCia (Mrs Peter A) typist TC av Hosp res Sandy Creek Tr Pk East Hill Supply Co Inc pres Gerald T Glazier v-pre s John P Ray sec Mildred M Glazier EPA REALTY Edward P Abbo" prop 708 treas Judi Roy liquor dealers 416 Eddy First National Bank Building D.272-9202 East Ithaca Food Storage (CU) 126 Maple av see plOD East Lawn Cemetery before 921 Mitchell E and M Cor Wash 310 Elmira rd East Lawn Cemetery Assn office 934 Mitchell Eades Norma (Mrs Wm D) physical therapi st Eastburn Judith A Mrs sten Agronomy CU res IC h 104 -
About Henry Street Settlement
TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America March 1– 5, Gala Preview February 28 FOUNDED 1962 Park Avenue Armory at 67th Street, New York City MEDIA MATERIALS Lead sponsoring partner of The Art Show The ADAA Announces Program Highlights at the 2017 Edition of The Art Show ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art. #TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017 To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement. -
Final May Book 2018.2.Indd
2017-2018 Operating & Capital Budget Plan May 2017 Operating and Capital Budget Plan FY 2018 CONTENTS Operating Budget - Highlights Table 1: Composite Operating Budget 4 Table 2: Composite Operating Budget - by Campus 5 Operating Budget - Details Table 3: Ithaca Campus - Budget Summary 8 Table 4: Ithaca Campus - Budget Details 9 Table 5: Cornell Tech - Budget Summary 12 Table 6: Weill Cornell Medicine - Budget Summary 14 Capital Plan Table 7: Capital Activity Summary 18 Table 8: Sources & Uses of Capital Expenditures by Campus 21 Appendices A Academic Year Tuitions 23 B Student Fees & Other Tuition Rates 24 C Tuition & Fees - Selected Institution Comparison 25 D Room & Board Rates - Selected Institution Comparison 26 E Actual & Projected Enrollments 27 F Undergraduate Financial Aid 28 G New York State Appropriations 29 H Investment Assets, Returns, & Payouts 30 I Capital Activity Detail 31 J Debt Service by Operating Unit 35 K External Debt Financing Summary 36 L Projected Maintenance Funding - Ithaca and Geneva 37 M Facilities & Administrative Cost and Employee Benefits Billing Rates 38 N Work Force - Ithaca Campus 39 Figure 1. Fiscal Year 2018 Revenues $4.33 billion Qatar Foundation 2.2% Other Sources Sales & Services of 7.2% Tuition & Fees Enterprise 25.3% 3.8% Medical College Service Revenues Investments 30.3% 7.2% Gifts 5.1% Sponsored Programs State & Federal 15.4% Appropriations 3.5% 1 Figure 2. Fiscal Year 2018 Expenditures $4.26 billion Repairs & Maintenance Debt 2.0% Qatar 2.2% 3.3% Utilities, Rent, & Taxes 4.4% Purchased Services General Operations 7.4% 9.9% Salaries, Wages & Benefits 58.6% Capital Expenses Financial Aid 1.9% 10.2% From the Vice President TO THE CORNELL UNIVERSITY BOARD OF TRUSTEES The Cornell University fiscal year 2018 operating and Cost containment in support operations across the capital budgets for the Ithaca Campus, Cornell Tech, and university remains a priority. -
Download the 2020-2021 Family Guide
FAMILY GUIDE 2020–2021 Visit covid.cornell.edu for all updates related to reactivating the Cornell University campus and plans for the fall semester. CONTENTS What to Expect in the First Year .......................2 Living at Cornell ............................................ 4 Academics: Expectations and Integrity ..............5 Advising In the Undergraduate Colleges .............6 Family Educational Rights and Privacy Act .......... 7 College of Agriculture and Life Sciences .............9 College of Architecture, Art, and Planning .........10 College of Arts and Sciences ........................... 11 College of Engineering ..................................12 College of Human Ecology ..............................13 ILR School ...................................................14 SC Johnson College of Business ......................15 Academic Resources .....................................17 Enrollment and Finances ............................... 20 Campus Safety............................................ 22 Health and Well-Being .................................. 25 Dean of Students......................................... 30 Getting Involved on Campus: Students ............ 32 Computing Resources .................................. 36 Internet Copyright Infringement ......................37 Housing Beyond the First Year ....................... 38 Getting Involved with Cornell: Families ........... 40 Getting to Ithaca ..........................................42 WHAT TO EXPECT IN THE FIRST YEAR THE TRANSITION TO COLLEGE As the -
Agnes Martin, Textiles, and the Linear Experience
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Spring 5-3-2017 WARP/WEFT: AGNES MARTIN, TEXTILES, AND THE LINEAR EXPERIENCE Ariana Yandell Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Yandell, Ariana, "WARP/WEFT: AGNES MARTIN, TEXTILES, AND THE LINEAR EXPERIENCE." Thesis, Georgia State University, 2017. https://scholarworks.gsu.edu/art_design_theses/214 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. WARP/WEFT: AGNES MARTIN, TEXTILES, AND THE LINEAR EXPERIENCE by ARIANA YANDELL Under the Direction of Susan Richmond, PhD ABSTRACT This essay is a study of Agnes Martin (1912-2004), a Canadian-born and American-based contemporary artist, and her earlier painting practice including, but not limited, to her work Falling Blue of 1963. The exploration of this piece and others frames Martin’s early work as a process of material exploration analogous to weaving and fiber art. This framing is enhanced by the friendship and professional exchange between Martin and artist Lenore Tawney (1907-2007). The textile lens, as explored in this paper, has been undeveloped compared to other approaches to Martin’s -
Show of Hands
Show of Hands Northwest Women Artists 1880–2010 Maria Frank Abrams Ruth Kelsey Kathleen Gemberling Adkison Alison Keogh Eliza Barchus Maude Kerns Harriet Foster Beecher Sheila Klein Ross Palmer Beecher Gwendolyn Knight Susan Bennerstrom Margot Quan Knight Marsha Burns Margie Livingston Margaret Camfferman Helen Loggie Emily M. Carr Blanche Morgan Losey Lauri Chambers Sherry Markovitz Doris Chase Agnes Martin Diem Chau Ella McBride Elizabeth Colborne Lucinda Parker Show of Hands Northwest Women Artists 1880–2010 Claire Cowie Viola Patterson Louise Crow Mary Ann Peters Imogen Cunningham Susan Point Barbara Matilsky Marita Dingus Mary Randlett Caryn Friedlander Ebba Rapp Anna Gellenbeck Susan Robb Virna Haffer Elizabeth Sandvig Sally Haley Norie Sato Victoria Haven Barbara Sternberger Zama Vanessa Helder Maki Tamura Karin Helmich Barbara Earl Thomas Mary Henry Margaret Tomkins Abby Williams Hill Gail Tremblay Anne Hirondelle Patti Warashina Yvonne Twining Humber Marie Watt Elizabeth Jameson Myra Albert Wiggins Fay Jones Ellen Ziegler Helmi Dagmar Juvonen whatcom museum, bellingham, wa contents This book is published in conjunction with the 6 Foreword exhibition Show of Hands: Northwest Women Artists 1880–2010, organized by the Whatcom Patricia Leach Museum and on view from April 24–August 8, 2010. Funding for the exhibition and the 8 Acknowledgments accompanying catalogue was supported in part with funds provided by the Western 10 A Gathering of Women States Arts Federation (WESTAF) and the Barbara Matilsky National Endowment for the Arts (NEA). The City of Bellingham also generously funded the 52 Checklist of the Exhibition catalogue. Additional support was provided by the Washington Art Consortium (WAC). Published in the United States by 55 Bibliography Whatcom Museum 56 Photographic Credits © 2010 by the Whatcom Museum 121 Prospect Street Bellingham, WA 98225 The copyright of works of art reproduced in www.whatcommuseum.org 56 Lenders to the Exhibition this catalogue is retained by the artists, their heirs, successors, and assignees. -
Quick Facts from the Modern Docent Newsletter
Quick Facts from the Modern Docent Newsletter Summer 2008 In Andy Warhol’s Twenty-Five Colored Marilyns, 1962, the colors were hand-painted with the aid of stencils before the black areas were silk-screened on top. Roy Lichtenstein used a homemade stencil to achieve the effect of Ben-day dots in his paintings. The Museum Ludwig in Cologne, Germany, owns Gerhard Richter’s painting Ema (Nude on a Staircase), 1966. Twenty-six years later, in 1992, the artist created an edition of 12 photographs of that painting, including the one in our permanent collection. Fall 2008 The stone used by Ulrich Rückriem in his untitled work from 1980 is Texas red granite from a quarry in Fredericksburg, TX. In 1981, this institution (then known as the Fort Worth Art Museum) hosted his first one-man museum exhibition in America, and when his work proved too costly to ship from Germany, he created new work in Texas using native stone. The figures and their bases in Stephan Balkenhol’s 4 Figures, 2000 are not separate pieces, but each a single continuous form. Also, Balkenhol’s major professor at the Hockschule für Bildende Künst in Hamburg, Germany, was Ulrich Rückriem. January 2009 Here are some interesting connections between some of the artists whose works are currently exhibited on the first floor: Ellsworth Kelly lived in the same building as Agnes Martin in Lower Manhattan in the late 1950s. They had breakfast together every day for a year and a half. Carl Andre and Frank Stella shared a studio space in New York from 1958–1960, the years Stella developed his black stripe paintings. -
For Immediate Release High Museum of Art Is Sole U.S
FOR IMMEDIATE RELEASE HIGH MUSEUM OF ART IS SOLE U.S. VENUE FOR INTERNATIONAL TOUR OF WALKER EVANS PHOTOGRAPHY Co-organized exhibition marks the most comprehensive retrospective of Evans’ work to be presented in Europe, Canada and the American South ATLANTA, May 17, 2016 – The High Museum of Art in Atlanta is partnering with the Josef Albers Museum Quadrat (Bottrop, Germany) and the Vancouver Art Gallery to present a major touring retrospective of the work of Walker Evans, one of the most influential documentary photographers of the 20th century. The High will be the only U.S. venue for “Walker Evans: Depth of Field,” which places Evans’ most recognized photographs within the larger context of his 50-year career. The exhibition is among the most thorough examinations ever presented of the photographer’s work and the most comprehensive Evans retrospective to be mounted in Europe, Canada and the southeastern United States. Following its presentation at the Josef Albers Museum Quadrat, the exhibition will be presented at the High from June 11 through Sept. 11, 2016, before traveling to Vancouver (Oct. 29, 2016, through Jan. 22, 2017). The High’s presentation will feature more than 120 black-and-white and color prints from the 1920s through the 1970s, including photographs from the Museum’s permanent collection. With a profundity that has not previously been accomplished, the exhibition and its companion publication explore the transatlantic roots and repercussions of Evans’ contributions to the field of photography and examine his pioneering of the lyric documentary style, which fuses a powerful personal perspective with the objective record of time and place.