DOCSLIB.ORG

Download Our 2017-2018 Annual Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Our 2017-2018 Annual Report THE RENAISSANCE SOCIETY ANNUAL REPORT 2017–18 2 2017–18 SEASON 3 LETTER FROM THE BOARD PRESIDENT Dear friends, This year marked the Renaissance Society’s On behalf of the entire Board, I’d also 103rd season. While the longevity of its like to offer a warm thank you to Anita activity is remarkable, what makes the Ren Blanchard who completed her tenure this a truly singular institution is the potent year. We are deeply appreciative of her blend of creative freedom and intellectual service. rigor it cultivates, and the dedicated The true engine of the Ren is the community such a platform attracts. incredible staff that work to support Nowhere is this more evident than in our everything from daily operations and 2017-18 program, which engaged a record programmatic planning to organizing number of visitors as it featured artists, tours and sharing information. At the scholars, and other contributors from as helm is Executive Director and Chief far away as Mumbai, Buenos Aires, and Curator Solveig Øvstebø, whose vision and Paris, and of course from right here in leadership inspire everyone she meets. Chicago too. Her staff is small and mighty and deserves What further distinguishes the much recognition: Jessica Cochran, Julia Ren is its ambitious commitment to com- DeRose, Max Guy, Michael Harrison, missioning new art. The 2017-18 season Colleen Kelly, Karsten Lund, Karen Reimer, featured more new production than ever Anna Searle Jones, and Pierre Sondeijker. before, and this is the direct result of the This group of talented individuals makes Next Century Fund, led by transformational the Ren an exceedingly special place. gifts from the Edlis Neeson Foundation, All that the Ren does is made the Pritzker Traubert Foundation, and the possible by its exceptional network of Zell Family Foundation. Their inspirational support, from individuals to foundations generosity has been joined by major gifts to educational and commercial entities. from many others. We are so grateful for the contributions In the spirit of taking risks and that are recognized in the following pages, exploring new ideas, in October we hosted and to all those who play an active part in our annual RenBen gala and art auction the Ren’s community. in Half Acre Brewing Company’s newly- opened Balmoral warehouse. With the faint smell of hops in the air, over 300 With gratitude, supporters of the Ren gathered to enjoy a Jorge Cauz night of great art, food, and conversation as we raised important funds for the Ren’s 2017-18 program. It was my honor to serve as one of the co-chairs with my husband, Ugo Alfano Casati, and our good friends Richard Wright and Valerie Carberry. My sincerest gratitude goes to the host committee, to all the attendees, and to the artists and galleries who donated work for the auction. The Board of Directors of the Renaissance Society is an esteemed group of individuals, and it is truly my pleasure to work with them. This year we were fortunate to add Jennifer Keller, and she Jochen Dehn performing Arches and Avalanches has already contributed tremendous value. JENNIFER PACKER, TENDERHEADED 6 2017–18 SEASON 7 DIRECTOR'S REPORT The Renaissance Society might be small group took part in a breakfast discussion in physical size, but this season showcases with artist Alejandro Cesarco, hosted a just what a significant impact we make— Student Night featuring member-led walk- on the artists with whom we work, on the throughs of Richard Rezac’s exhibition, and audiences who engage with our program, travelled to Milwaukee, where they met and on the field of contemporary art with Michelle Grabner and visited galleries around the world. and artist-run spaces. This can be seen in the powerful Other highlights this season include exhibition of new paintings by Jennifer presenting our publications at the New Packer, Tenderheaded, which marked York Art Book Fair, where we debuted her first solo museum show; it went on the catalogue for Between the Ticks of the to travel to the Rose Museum of Art at Watch. We were pleased to introduce Brandeis University, and we launched late gallery hours on Thursday evenings the publication at Printed Matter in New until 8pm, which aligns with a number of York during Frieze art fair. The other other campus institutions and offers more exhibitions this season have also featured flexibility for visitors. And, as you can see significant new production, in solo throughout the following pages, this is all presentations by Alejandro Cesarco and in addition to our rich and robust program Richard Rezac, as well as new works from of exhibitions, events, and publishing that Daniel G. Baird, Marissa Lee Benedict, form an unparalleled platform for critical Cécile B. Evans, and Xaviera Simmons for inquiry and dialogue. Unthought Environments. I would like to express my gratitude As a non-collecting institution, we to our brilliant and hard-working staff are often asked what happens to these team, to our unceasingly supportive Board projects that we commission. We were of Directors, and to all of those who have thrilled to announce in November that contributed to the success of this season, new work from three recent Renaissance whether financially, intellectually, or Society exhibitions had found homes in creatively. It is thanks to all of you that the collections of major international this institution maintains the strength and museums: Kevin Beasley’s installation ambition that are its hallmarks. and performance Your Face Is/Is Not When I came to the Ren in 2013, I Enough in Tate Modern; Sadie Benning’s felt that we were uniquely positioned to 40-panel work, Shared Eye, in the Museum support artists in pursuing projects that of Modern Art; and Mathias Poledna’s they couldn’t elsewhere. Our unwavering 2014 film,Substance , in the Art Institute faith in artists and their ideas, coupled with of Chicago. the incredible generosity of our supporters, The Ren’s community values our means that our work continues to play commitment to fostering ambitious artistic a vital and necessary role in the cultural experimentation, and the relaunch of our landscape of Chicago and beyond. membership program in February attracted new supporters from around the country. Enhanced benefits include monthly Solveig Øvstebø payment options, reciprocal admissions Executive Director and Chief Curator to peer institutions, and a whimsical tote designed by artist Peter Wächtler. Members of our Student Committee, too, serve an important role as ambassadors of the Ren, connecting us to the wider University of Chicago campus and gaining Solveig Øvstebø and Alejandro Cesarco during the latter's artist talk behind-the-scenes experience. This year the 8 SEP 9–NOV 5, 2017 NOV 18, 2017–JAN 28, 2018 9 JENNIFER PACKER ALEJANDRO CESARCO TENDERHEADED SONG The work of representing SEP 9, 2017 Between [the two video works] NOV 18, 2017 black subjects in a media Opening reception and artist talk Everness and Revision, Opening reception and artist talk with Solveig Øvstebø landscape saturated with SEP 24, 2017 I explore the idea of tempo, images of black victims of Screening: Dear Watchers in the Shadows phrasing, duration—the NOV 29, 2017 featuring films by Tomashi Jackson, Sable Reading: Wayne Koestenbaum state-sponsored violence is Elyse Smith, Sondra Perry, Cauleen Smith, musicality of looking. What indeed risky. How does one Martine Syms, and Steffani Jemison we consider tragic has shifted DEC 6, 2017 Discussion: Lynne Tillman simultaneously confront these OCT 11, 2017 in the past ten years, as have and Alejandro Cesarco oppressive forces without Exhibition walk-through the power and usage of words with Solveig Øvstebø JAN 10, 2018 allowing the nefarious visual and facts. So, to go back Exhibition walk-through order of surveillance to dictate OCT 14, 2017 to the problems of reading Karsten Lund Reading: CM Burroughs the ways in which those most and deciphering seemed JAN 20, 2018 Presented in partnership with the Screening: The Death of Louis XIV oppressed by it are seen? Program in Poetry & Poetics at the rather timely. by Albert Serra — Lauren DeLand, Art in America University of Chicago — Alejandro Cesarco, Artforum Based in observation, improvisation, OCT 25, 2017 Including video, photographs, and a wall- and memory, Jennifer Packer’s canvases Discussion: Christina Sharpe based screenprint, Alejandro Cesarco’s are intimate and contemplative, rendered and Cauleen Smith poetic installation suggested themes of in loose strokes and strong color. The new duration, refusal, repetition, and affective and recent paintings in Tenderheaded, NOV 4, 2017 forms. At the heart of the exhibition were the New York-based artist’s first solo Artist talk: Prisms, Trunks, and Branches two related video works: the first chapter Martin Beck of the artist’s 2008 video, Everness, which institutional presentation, exhibited a features an actor reciting a monologue, rigorous engagement with art history as Presented in conjunction with the Chicago written by Cesarco, on the meaning of well as a highly personal response to how Architecture Biennial black bodies navigate within the present tragedy; and Revision, a new remake of this political landscape. chapter with the same actor, now almost a Packer’s practice is marked by decade later. its restraint, producing works that are This presentation, as in the artist’s complicated, sometimes elusive, but broader practice, represented a sustained always generous. Whether portraiture or investigation into time, memory, and floral still lives, her paintings
Load more

Recommended publications
  • Gaylen Gerber 20 September - 21 December Opening Reception: 20 September 2018 at 6 – 7:30 P.M
    Gaylen Gerber 20 September - 21 December Opening Reception: 20 September 2018 at 6 – 7:30 p.m. Gallery Talk with Forrest Nash: 21 September 2018 at 12:00 – 1:00 p.m. The Arts Club of Chicago is pleased to present the first survey of Gaylen Gerber’s Supports, an ongoing series in which the artist intervenes upon collected artifacts. Offering pause for reflection on a shared history, Gerber’s art is indebted to both the monochrome and the readymade. Supports features objects of diverse origin, each painted uniformly in institutional gray or white. Whether a mirror from the Kennedy winter White House, a Brazilian milagre, or a vintage coke bottle, each is undated and bears the title Support. Gerber’s attentive, almost “reverential” brushstrokes, as Roberta Smith has described them in the New York Times, render the objects visible in a new way. This survey elaborates on the decentralization of attention while it affirms the all-encompassing aspects of the artists’ practice. For his exhibition at The Arts Club of Chicago, Gerber places the works in the gallery to suggest a cohesive visual field, yet at the same time, he differentiates each object through the regularity of its painted surface. The resulting installation encourages recognition of a shared reality, even as it enables diverse emotional responses to individual Supports, ranging from delight to distress. Gerber acknowledges the undertakings of vast cultural traditions as well as their often beautiful, sometimes poignant limitations. The exhibition further addresses a larger question about how and why objects so often remain compelling. The survey affirms the more inclusive aspects of the artist’s practice.
    [Show full text]
  • 2001 Future of the Arts Report
    2001 Future of the Arts Report 1 The Future of the Arts at the University of Chicago August 2001 Table of Contents Introduction Page 2 Study Recommendations Page 4 Role of the Arts Page 5 The Arts Curriculum Page 7 Student Arts Page 9 Professional Arts Organizations Page 11 Arts in the City Page 13 Organization and Process Recommendations Page 15 Facilities Needs and Objectives Page 17 Facilities Recommendations Page 23 Conclusion Page 29 Appendices Page 30 Introduction Introduction Experiencing the creative arts is a fundamental part of knowing ourselves as humans and of understanding those different from ourselves. Whether painting or poetry, film or theater, music or dance, artistic creation addresses the deepest questions of the human condition. A great research university should nurture the unique and powerful role of the arts in the education of the whole person. University President Ernest DeWitt Burton recognized this when he wrote in 1925: “We need to supplement science and the scientific study of all branches of knowledge with the finer arts of music and painting, of sculpture and architecture. We owe it to our students, to whom it is our ambition to give the best possible education. We owe it to our professors, that they not become dry-as- dust investigators and lecturers but symmetrically developed and cultivated personalities. We owe it to our community.” Today, more students, faculty, staff, and general audiences engage with the arts on our campus than ever before. This increased participation has been paralleled by growth in the quality and diversity of our arts programs and activities.
    [Show full text]
  • Signs and Systems Curated by Anne Rorimer January 11 - February 16, 2019
    Signs and Systems Curated by Anne Rorimer January 11 - February 16, 2019 Opening reception: January 11, 2019 5 – 7:30 pm Matt Mullican, Untitled (Pantagraph), 2016 Acrylic, gouache, and oil sticK rubbing on canvas 78.75 x 157.5 inches Rhona Hoffman Gallery is pleased to open 2019 with Signs and Systems, an exhibition curated by Anne Rorimer featuring worKs by Lawrence Kenny, Allan McCollum, Matt Mullican, and Caroline Van Damme. In different ways, each artist generates visual signification by means of systems predicated on line, color, shape, and form. Together they call upon the potential of these basic visual elements to invest flat surfaces and/or real surroundings with abstract aesthetic meaning. Serial systems play a strategic role in two worKs by Lawrence Kenny. In Is You Is or Is You Ain’t My Baby (2018), primary and secondary colored letters appear to float just above the wall, repeatedly spelling out the title of Louis Jordan’s famed 1944 song to form an overall pattern of successive columns within a large rectangle. In marKed contrast, Wirework (2017) addresses the attempt to perceptually imbue empty space with palpable form. The pairing of eight bent, thin, three-foot long, steel wires in four different positions serve to interconnect the neutral planarity of the wall with iterations of spatial depth. Matt Mullican’s Untitled (Pantagraph) (2016) is a single example of the artist’s multi-pronged aesthetic project noted for its incorporation of sign systems. Through a broad range of media, Matt Mullican draws from his own subconscious to create a body of worK aimed at nothing less than to maKe sense of the universe.
    [Show full text]
  • Best Art Shows of 2013
    Best art shows of 2013 'Impressionism' at Art Institute best in show in a funky year December 13, 2013 By Claudine Ise, Special to the Tribune Phyllis Bramson, "Idle Hours" (2000). (Elmhurst Art Museum) When it came to Chicago's visual art exhibitions, 2013 was not a historic year. There were few if any truly ambitious new art works, nor did we see many museums experimenting with innovative exhibition forms. Instead, 2013 was a year where artists and art institutions alike were consumed with the subject of history itself. Is looking backward the only way to move forward? For now, the answer seems to be yes, so we'll follow suit. Below, in no particular order, are this year's highlights. 1. "Impressionism, Fashion and Modernity" at the Art Institute of http://articles.chicagotribune.com/2013-12-13/entertainment/chi-best-art-shows-2013-20131213_1_art- institute-arts-club-imagism Chicago, June 26-September 29: It was designed to be a wildly popular, world-touring blockbuster, and in that it succeeded, but this incisive look at figurative painting's relationship to Parisian fashion from the 1860s-1880s also drew on rock-solid scholarship and offered fresh perspectives on familiar Impressionist classics — not to mention close- up views of the chicly beribboned garments that inspired them. 2. "Africobra in Chicago," The South Side Community Art Center, the Reva and David Logan Center for the Arts, and The Dusable Museum of African American History, May 10 – September 29: Not only did this vibrant trio of exhibitions and related programs offer the most comprehensive survey yet of the aesthetics, culture, and political philosophy of AFRICOBRA (African Commune of Bad Relevant Artists), they provided a necessary corrective to the notion that Imagism and its offshoots were Chicago's only historically significant postwar art movements.
    [Show full text]
  • Luchita Hurtado Dark Years
    HAUSER & WIRTH Press Release Luchita Hurtado Dark Years 31 January – 6 April 2019 Hauser & Wirth New York, 69th Street Opening reception: Thursday 31 January, 6 – 8 pm ‘When that first photograph was taken of the world from space and you saw this little ball in blackness… I became aware of what I felt I was. I feel very much that a tree is a relative, a cousin. Everything in this world, I find, I’m related to.’ – Luchita Hurtado, 2018 New York... For more than seventy years, Los Angeles-based artist Luchita Hurtado has merged abstraction and representation with mystical effect, exploring connections between the body and its larger context – nature, the environment, and the cosmos – in an effort to express universality and transcendence. ‘Dark Years,’ Hurtado’s first solo exhibition with Hauser & Wirth, focuses on the artist’s early works from the 1940s to the 1950s, a period defined by prolific experimentation. Comprising of crayon and ink paintings on board and paper, graphite and ink drawings, and oil paintings on canvas, the works on view range stylistically from surrealist figuration and geometric patterning to biomorphic forms executed with expressive acuity. Together, they underscore the vast scope of Hurtado’s early expression and illuminate the origins of an artistic output that would continue to evolve for decades to come. Hurtado’s multicultural life and career reflect in the eclectic mediums and formal techniques of her oeuvre. Born in Maiquetia, Vargas, Venezuela in 1920, she emigrated to the United States in 1928, settling in New York where she attended classes at the Art Students League.
    [Show full text]
  • Art-Related Archival Materials in the Chicago Area
    ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest
    [Show full text]
  • Chicago Political Artана2014анаthe Newberry Library
    Chicago Political Art ­ 2014 ­ The Newberry Library Instructor: Daniel Tucker | [email protected] | 312­515­7364 Starting with the 1906 publication of The Jungle by Upton Sinclair (held in the Newberry in Case 4A 362 Special Collections 4th floor), this seminar will look at how Chicago was established as a site for artists to use their tools to advocate for social and political transformation. The intersection of arts and crafts with early social work at Hull House will be traced through the African­American and Latino community muralists of the 1960s and 70s. More recent events such as Sculpture Chicago’s 1993 outdoor expo Culture in Action will be explored alongside of more activist public art like Department of Space and Land Reclamation in 2001. This course will address many artists (Ellen Gates Starr, Upton Sinclair, John T. McCutcheon, The Dill Pickle Club, Gwendolyn Brooks) that draw from reproduced materials or selections from the Newberry Library Core, Special Collections, and online exhibitions. Additionally, the students will be exposed to ephemera and publications related to more recent (1960s­Present) artists drawn together in the instructor’s newly organized “Chicago Ephemera Archives” (never­the­same.org). Through a fellowship at the Gray Center for Arts and Inquiry at the University of Chicago, the Never The Same archive is being developed to document local political art since the 1960s. These materials will be made available to the students to provide hands­on connection with the source­material and printed matter related to these practices. The artists and events covered in this seminar tell the story of the city, as well as the evolution of different aesthetic and artistic strategies and social movements.
    [Show full text]
  • Oral History Interview with Luchita Hurtado
    Oral history interview with Luchita Hurtado The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Luchita Hurtado AAA.hurtad94 Collection Overview Repository: Archives of American Art Title: Oral history interview with Luchita Hurtado Identifier: AAA.hurtad94
    [Show full text]
  • 2014 Cityarts Program Grant
    2014 CityArts Organizational Grant Program Panelists Julie Adrianopoli Christopher Audain Baraka de Soleil Meg Duguid Ilesa Duncan Joyce Fernandes Cayenne Harris Sarai Hoffman Andrew Micheli Troy Peters Nicole Reyna Jenny Shanks Willa Taylor Grantees 826CHI INC NFP Albany Park Theater Project American Indian Center American Theater Company Antibody Dance archi-treasures Arts & Business Council of Chicago Audience Architects Barrel of Monkeys Black Ensemble Theater Blair Thomas & Company Changing Worlds Chicago a cappella Chicago Access Corporation Chicago Artists Coalition Chicago Arts Partnerships in Education Chicago Children’s Choir Chicago Children's Theatre Chicago Cultural Alliance Chicago Dance Crash Chicago Film Archives Chicago Filmmakers Chicago Human Rhythm Project Chicago Humanities Festival Chicago Independent Radio Project (CHIRP) Chicago International Film Festival Chicago Public Art Group Chicago Sinfonietta Chicago West Community Music Center Chicago Writers Conference Chicago Youth Symphony Orchestras Child's Play Touring Theatre Chinese Fine Arts Society Clinard Dance Theater Community TV Network Congo Square Theatre Company Court Theatre Culture Shock Chicago, NFP Dance in the Parks, NFP DanceWorks Chicago DFBRL8R DuSable Museum of African American History eighth blackbird Performing Arts Association Elevarte Ensemble Español Spanish Dance Theater Erasing the Distance Fifth House Ensemble Free Spirit Media Fund for Innovative TV DBA Media Burn Archive Garfield Park Conservatory Alliance Gene Siskel Film Center Gilloury Institute Global Girls Inc. Grant Park Orchestral Association Griffin Theatre Company Groundswell Educational Films, NFP Gus Giordano's Jazz Dance Chicago, Inc. Heaven Gallery Hedwig Dances Hyde Park Art Center Hyde Park School of Dance InFusion Theatre Company Inner-City Muslim Action Network Institute of Puerto Rican Arts & Culture Instituto Cervantes of Chicago, Inc.
    [Show full text]
  • Self-Guided Tours
    ALL THINGS visit.uchicago.edu IF YOU HAVE 4 HOURS self-guided BOTANY POND 57th St. (west of Hutchinson Court) Located in the middle of campus, Botany Pond is the university’s tours biodiversity hotspot, hosting a remarkable variety of animals including ducks, four species of turtles, and a dozen species of dragonflies. For over a century, the pond has served as a tranquil IF YOU HAVE 1 HOUR outdoor study space, relaxation destination, and nexus of intel- lectual life on campus. Plus, rumor has it, if a couple kisses on the MAIN QUAD bridge over Botany Pond, they will get married. 57th St. – 59th St. Between University Ave. and Ellis Ave. architecture.uchicago.edu ROCKEFELLER MEMORIAL CHAPEL 5850 S. Woodlawn Ave. (at E. 59th St.) The centerpiece of the University of Chicago campus rockefeller.uchicago.edu/events is without question its main quadrangle. Designed in 1891 by famed Chicago architect Henry Ives Cobb, Rockefeller Memorial Chapel is a hub for ceremonies, the Neo-Gothic style of the Quad lends itself to theater, orchestral performances, chorus groups, classrooms, laboratories, and libraries alike. At vari- concerts, and even circus acts. While you’re there, ous points in the year, the Main Quad is the site of make sure to walk up the 271 steps to the top for 360 everything from quiet study and relaxation to the degree views of Chicago, Lake Michigan, northern bustling Spring Convocation ceremony. Indiana and the port, the Michigan shoreline, and of course, the University itself. Visit the Rockefeller Memorial Chapel website for information on daily Car- HARPER MEMORIAL LIBRARY READING ROOM illon tours, nondenominational religious services, and 1116 E.
    [Show full text]
  • Oral History Transcript T-0229, Interview with William N. Eisendrath
    ORAL HISTORY T-0229 INTERVIEWEES: WILLIAM N. EISENDRATH, JR. INTERVIEWER: IRENE CORTINOVIS ARTISTS AND ART COLLECTORS PROJECT This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. CORTINOVIS: Today is January 8, 1973. This is Irene Cortinovis from the University of Missouri Oral History Program. I have with me today Mr. William Eisendrath who has long worked in the art world both in St. Louis and in Chicago. Well, Bill, suppose we start out and I'm going to be writing down proper names on this folder as we go along and then I'll check with you after we're finished for the spellings. This is for the transcriber. I'd like to know, first about you as an individual. What your education for your work in art, in art museums was, well, just start for instance where you were born and what kind of influence your family had. EISENDRATH; I was born in Chicago. Do you want the date? CORTINOVIS: If you want. EISENDRATH: March 4, 1903, which makes me about 70. CORTINOVIS: I must say you look marvelous for 70. EISENDRATH: I became interested in art in my freshman year at Yale. It was solely an interest. I went abroad after my graduation from Yale and had a year's tour of Europe. CORTINOVIS: What kind of studies did you pursue at Yale, though? EISENDRATH: Almost all together English Literature, but in company with a number of friends I became interested in art.
    [Show full text]
  • Program Archive Columbia Undergraduate Scholars Program (CUSP) 2000-2020
    Program Archive Columbia Undergraduate Scholars Program (CUSP) 2000-2020 Columbia University Berick Center for Student Advising CONTENTS Yearly Themes and Events ......................................................................................................................... 4 Dissonance: 2019-2020 ................................................................................................................................ 5 Speaker Series 2019-2020 ......................................................................................................................... 5 Lateness: 2018-2019 .................................................................................................................................. 13 Speaker Series 2018-2019 ....................................................................................................................... 13 Insight: 2017-2018 ..................................................................................................................................... 25 Speaker Series 2017-2018 ....................................................................................................................... 25 Navigation: 2016-2017 .............................................................................................................................. 36 Speaker Series 2016-2017 ....................................................................................................................... 36 Metamorphosis: 2015-2016 .....................................................................................................................
    [Show full text]