DOCSLIB.ORG

CATHLEEN A. CHAFFEE Horace W. Goldsmith Assistant Curator of Modern and Contemporary Art Yale University Art Gallery

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CATHLEEN A. CHAFFEE Horace W. Goldsmith Assistant Curator of Modern and Contemporary Art Yale University Art Gallery CATHLEEN A. CHAFFEE Horace W. Goldsmith Assistant Curator of Modern and Contemporary Art Yale University Art Gallery Education Ph.D. Institute of Fine Arts, New York University 2013 Dissertation: Décors: Marcel Broodthaers’s Late Exhibition Practice, 1974–75 M.A. The Courtauld Institute of Art, University of London 2001 B.S. Ithaca College, Ithaca, New York 1999 Professional Experience Yale University Art Gallery Horace W. Goldsmith Assistant Curator of Modern and Contemporary Art 2010–Present Exhibitions: Still Life: 1970s Photorealism (August 2013–March 2014), Once Removed: Sculpture’s Changing Frame of Reference (December 2012–April 2013), Radical Visions, Practically Applied: Women’s Innovations in Abstraction, 1915–37 (September 2012–July 2013) Coordinator of Happy and Bob Doran Artists-in-Residence: Kasia Korczak of Slavs & Tatars (2013), Tris Vonna-Michell (2011), and Carol Bove (2010–11). The Museum of Modern Art, New York Curatorial Assistant, Department of Prints & Illustrated Books 2007–2008 Exhibitions as assistant to the curators: In & Out of Amsterdam: Travels in Conceptual Art, 1960–1976 (2009), Projects 88: Lucy McKenzie (2008), Multiplex: Directions in Art, 1970 to Now (2007–8) The Cleveland Museum of Art Curatorial Assistant, Contemporary Art and Photography July 2003–August 2004 Curatorial Assistant, Contemporary Art November 2001–July 2003 Exhibitions: Needful Things: Recent Multiples (Jeffrey Grove, co-curator, 2004/5), Trophies of the Hunt (2004), Karel Appel and the Legacies of COBRA (2003). Exhibitions as assistant to the curators: Kelly McLane: My Blue-Green Algae (2004), Time Stands Still: Muybridge and the Instantaneous Photography Movement (2004), Trenton Doyle Hancock: Moments in Mound History (2004), Aernout Mik (2003), MetaScape: Julie Mehretu, Benjamin Edwards, Torben Giehler and Yutaka Sone (2003), Frank Gehry's Peter B. Lewis Building (2002/3), Into the Light: The Projected Image in American Art, 1964-1977 (2002) Teaching Experience École de Recherche Graphique, Institute St. Luc, Brussels, Belgium Visiting Professor of Theory for final-year MFA students 2008–2009 The Museum of Modern Art, New York Instructor for Adult Education course Minimum Requirements for a Picture: Conceptualism and Beyond Spring 2008 New York University Teacher’s Assistant, History of Western Art II Fall 2007 Graduate Course Assistant, Warhol’s World Spring 2006 Pratt Institute, New York Art History Instructor, Pre-College Program Summer 2006 Independent Curatorial Projects Leon Vranken: don’t whistle till you’re out of the wood White Box, New York (Exhibition organized for the Palais des Beaux-Arts, Brussels) March, 2011 College Art Association New York Area MFA Exhibition, Yale University School of Art Hunter College/Times Square Gallery, New York, NY March, 2011 Reports The Explorers Club, New York (David Adamo and Ellie Ga, co-curators) 2007–Present Interventions in the Club by thirty artists including: Alekandra Mir, Rudolf Stingel, Tom Holmes, Tris Vonna-Michell, and Mike Henry. On Notice: Joëlle Tuerlinckx // Chance Projects (Marysia Lewandowska & Neil Cummings) Swiss Institute – Contemporary Art, New York March, 2006 Wish you were here The Cleveland Institute of Art (David Carrier, co-curator) October–December 2003 Exhibition and eight related artists’ residences by artists including: Bas Jan Ader, Becket Bowes, Amy Cutler, Christoph Fink, and Lordy Rodriguez. Looking With/Out: East Wing Collection No.05 The Courtauld Institute of Art, London (Co-curator) November 2001–October 2003 Works by thirty artists including: Dan Graham, Abigail Lane, Gunilla Klingberg, Gianni Motti, and Claude Closky. Selected Publications Books: Eye on a Century: Modern and Contemporary Art from the Charles B. Benenson Collection at the Yale University Art Gallery. New Haven: Yale University Art Gallery, 2012. Marcel Broodthaers’s SUR L’ART. (Editor of the previously unpublished 1975 artist’s book) Distributed with Frieze, no. 142, October, 2011. Introductory essay and annotated translation: 27–28. Essays in Books: Art & Place; Site-Specific Art of the Americas (contributing author). London: Phaidon Press, 2013 [Forthcoming]. “To Teach and Delight: Some Precedents for an Art of Instruction,” Postscript: Writing After Conceptual Art. Chicago: University of Chicago Press, 2013 [Forthcoming]. “Chez Broodthaers: Considérations Domestiques,” Marcel Broodthaers. Brussels: Musées royaux des Beaux-Arts de Belgique, 2010: 77–88. “White Out: Abstraction and Activism in the Work of Lieven de Boeck,” l.i.e.v.e.n.d.e.b.o.e.c.k.//texts #1. Eindhoven: Onomatopee, 2007. Reprinted in De Kantlijn: Kunstjournaal uit de Zuidelijke Nederlanden. No. 4, 2007. Exhibition Catalogues and Brochures: 2013 DeCordova Biennial (contributing author). Lincoln, Mass.: DeCordova Sculpture Park and Museum, 2014. Hanne Darboven. New York: Leo Castelli Gallery, 2013. Carol Bove: The Middle Pillar, 2007. New York: Maccarone, 2013. “Still Life: 1970s Photorealism,” Brochure. New Haven: Yale University Art Gallery, 2013. “The Shifting Locations of Richard Artschwager,” Richard Artschwager! New York and New Haven: The Whitney Museum of American Art and the Yale University Art Gallery, 2012. “Once Removed – Sculpture’s Changing Frame of Reference,” Brochure. New Haven: Yale University Art Gallery, 2012. “Interview with Becket Bowes,” Failure Canon, Brochure. New York: Rachel Uffner Gallery, 2010. “Bas Jan Ader,” “Hanne Darboven,” “Charlotte Posenenske.” In & Out of Amsterdam: Travels in Conceptual Art, 1960–1976. New York: The Museum of Modern Art, 2009: 54–60, 64–70, 108–114. “Leon Vranken,” 2009 Prix de la Jeune Peinture Belge. Brussels: Palais des Beaux-Arts, 2009. Reports: A Finding Aid. (editor) New York: The Explorers Club, 2008. “Libby Black: Work Out,” World Artists Program Brochure. Cleveland: SPACES Gallery, 2008. “Like a Fox: Jiří Skála’s Exchange of Handwriting,” Brochure. New York: Art in General, 2006. “Needful Things,” Brochure (co-author). Cleveland: The Cleveland Museum of Art, 2004. Wish you were here – The Art of Adventure, Cleveland: The Cleveland Institute of Art, 2003. Drawing Modern: Works from the Agnes Gund Collection (contributing author). Cleveland: The Cleveland Museum of Art, 2003. “‘Is Not Identity Preferable to Similitude?’: Jeremy Bentham’s Auto-Icon,” Ebenbilder: Kopien von Körpern – Modelle des Menschen. Ostfildern-Ruit: Hatje Cantz, 2002. Looking With/Out: East Wing Collection No.05. (editor) London: The Courtauld Institute of Art, 2001. Journal, Magazine, and Bulletin Articles: “Carol Bove – Setting for A. Pomodoro,” Yale University Art Gallery Bulletin 2012. New Haven: Yale University Art Gallery, 2012. “Marcel Broodthaers – A Voyage on the North Sea,” Yale University Art Gallery Bulletin 2011. New Haven: Yale University Art Gallery, 2011. “Situating Marcel Broodthaers’s Final Exhibitions.” Manifesta Journal, No. 7, 2009: 40–49. “Joëlle Tuerlinckx, CRYSTAL TIMES - Reflexiones sin sol / Proyecciones sin objetos.” Artforum.com, 28 November 2009. “Sven Augustijnen’s Les Demoiselles de Bruxelles: A ‘Philosophical Brothel,’” Newspaper Jan Mot, No. 65, January, 2009. “Bhupen Khakhar,” Art Asia Pacific, July/August, 2007: 112. “Tris Vonna-Michell,” Bomb, Winter, 2007: 24–25. “Profile: Cory Arcangel,” Contemporary, October, 2006: 26 - 29. Reprinted in Her(his)tory. Athens: Museum of Cycladic Art, 2007. “The Perfect Shot,” The Cleveland Museum of Art Members Magazine, September, 2004: 8–9. “Commodity Arts,” The Cleveland Museum of Art Members Magazine, September, 2004: 10–11. “Drawing Under the Influence: Lee Baxter Davis,” ArtUS. September/October 2004: 47. “Review: Rosalind Krauss and American Philosophical Art Criticism: from Formalism to beyond Postmodernism.” Tema Celeste, 2002. Lectures and Symposia “Working with and through the Collection,” The Feminist Art Project Special Sessions, College Art Association Annual Conference Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum 16 February, 2013 Sven Augustijnen’s Spectres (2012). Organizer of feature film screening, and panel with the artist. Yale University School of Art 1 October, 2012 “Instruction in the Work of Marcel Broodthaers” Yale University School of Art 16 April, 2012 “The Interior Décors of Marcel Broodthaers: Salle Rose to La Salle Blanche” Material Culture Faculty/Staff Colloquium, Yale University 24 March, 2011 “Holiday Art” (on artists’ residencies) with Annie Davey The Public School, in association with Komplot, Brussels 13 March, 2011 “Marcel Broodthaers’s Section Cinéma” For the Contemporary Arts Council, MoMA 16 September, 2010 “Marcel Broodthaers in Context” Index: Swedish Contemporary Art Foundation, Stockholm 30 January, 2010 “The Retrospective as Medium: Marcel Broodthaers's Décors Exhibitions (1974 - 1975)” Jan van Eyck Academie, Post-Academic Institute, Maastricht, the Netherlands 14 October, 2009 “The Man Behind the Curtain: Thomas Wilfred’s Beautiful Ruin” 9 May, 2006 Symposium on Forms of Seeing, Graduate School of Arts and Sciences, NYU “Portraiture and Photography for Nasir al-Din Shah” 24 September, 2005 Islamic Portraiture Symposium, Institute of Fine Arts, NYU Curator’s Lecture, Trophies of the Hunt, The Cleveland Museum of Art 28 July, 2004 Organizer and Discussant, The Art of Adventure Symposium November, 2003 The Cleveland Institute of Art Honors and Awards New England Museum Association Publication Competition, Award for Eye on a Century: Modern and Contemporary Art from the Charles B. Benenson Collection at the Yale University Art Gallery
Load more

Recommended publications
  • The Frick Collection Staff As of June 30, 2008
    The Frick Collection annual report july 2007–june 2008 The Frick Collection annual report july 2007–june 2008 leadership 2 Board of Trustees, Council of The Frick Collection, and Young Fellows Steering Committee reports 3 Margot Bogert, Chairman 5 Anne L. Poulet, Director 8 Colin B. Bailey, Associate Director and Peter Jay Sharp Chief Curator 11 Patricia Barnett, Andrew W. Mellon Chief Librarian financial statements 13 Statement of Financial Position 14 Statement of Activities public programming 15 Exhibitions and Lectures 16 Symposia, Publications, and Concerts notable library acquisitions 17 Gifts and Exchanges 18 Purchases donor support and membership 19 Gifts and Grants 23 Fellows and Friends 30 Corporate Members and Sponsors staff 31 The Frick Collection 34 Frick Art Reference Library on our cover: Maiolica dish with The Judgment of Paris after Raphael, Fontana workshop, tin-glazed earthenware, c. 1565, The Frick Collection, gift of Dianne Dwyer Modestini in memory of Mario Modestini; photograph by Michael Bodycomb The Frick Collection Council of Young Fellows Board of Trustees The Frick Collection Steering Committee As of June 30, 2008 As of June 30, 2008 As of June 30, 2008 Margot Bogert, Chairman George C. Wachter, Chairman Lydia Fenet, Chairman Howard Phipps Jr., Vice Chairman Jonathan Brown, Vice Chairman Elisabeth Saint-Amand, Secretary L. F. Boker Doyle, Treasurer Caitlin Davis, Coordinator John P. Birkelund, Secretary Julian Agnew Irene Roosevelt Aitken Fiona Benenson Peter P. Blanchard III W. Mark Brady Genevieve Wheeler Brown I. Townsend Burden III Vivien R. Clark Kipton Cronkite Walter A. Eberstadt Anne Goldrach Paul Cruickshank Emily T. Frick Nicholas H.
    [Show full text]
  • National Arts Awards Monday, October 19, 2015
    2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States.
    [Show full text]
  • Sunrise a Tribute to Our Founders
    Museum of Contemporary Art Cleveland Sunrise A Tribute to Our Founders Sunrise: A Tribute to Our Founders March 15 – August 11, 2019 Sunrise pays homage to our founders, Marjorie Talalay, Nina Sundell, and Mueller Family Gallery Agnes Gund, through artworks that speak to their passions and pursuits. The title references the logo of The New Gallery (moCa’s original name) Organized by Jill Snyder, that was designed by Roy Lichtenstein. A sun rising above a dotted plane Kohl Executive Director with graphic rays fanning through the sky, the logo was a metaphor for the with Kate Montlack, organization, suggesting the vitality and potential of contemporary art. Assistant Director of Exhibitions For this exhibition we invited the daughters of our founders to select works in honor of their mothers. This exhibition represents some of the 20th century’s most influential artists, and each previously has been shown at moCa. Agnes, together with her daughter Catherine, selected sculptural works by three female artists who reinforce her support for the early careers of women artists. Margaret Sundell chose works that reflect her late mother Nina’s professional relationship with Robert Rauschenberg and her embrace of his desire to work in the gap between art and life. Kathy, Nina, and Lauren Talalay’s choices represent meaningful professional and personal moments in their late mother Marjorie’s career as moCa’s longest serving Executive Director (1968–1993). Shown on the cover, Lichtenstein’s logo signals our vanguard legacy. Andy Warhol’s garishly hued portrait of China’s revolutionary leader, (Mao, 1972), Robert Rauschenberg’s collage of American trauma and triumph in the sixties (Signs, 1970), and Lynda Benglis’s vulvar minimalist sculpture (Lagniappe II Major support for this Glitter, 1977) reflect the sociopolitical climate of The New Gallery’s early exhibition provided by years.
    [Show full text]
  • Mapping Robert Storr
    Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits.
    [Show full text]
  • Read a Free Sample
    MARCEL BROODTHAERS A RETROSPECTIVE Manuel J. Borja-Villel Christophe Cherix With contributions by Benjamin H. D. Buchloh Cathleen Chaffee Jean-François Chevrier Kim Conaty Thierry de Duve Rafael García Doris Krystof Christian Rattemeyer Sam Sackeroff Teresa Velázquez Francesca Wilmott The Museum of Modern Art, New York Museo Nacional Centro de Arte Reina Sofía, Madrid CONTENTS Directors’ Foreword / 7 Glenn D. Lowry, Manuel J. Borja-Villel, and Marion Ackermann Acknowledgments Maria Gilissen Broodthaers, followed by a conversation with Yola Minatchy / 9 Manuel J. Borja-Villel and Christophe Cherix / 12 I Am Not a Filmmaker: Notes on a Retrospective / 16 Manuel J. Borja-Villel and Christophe Cherix Rhetoric, System D; or Poetry in Bad Weather / 22 Jean-François Chevrier Figure Zero / 30 Thierry de Duve First and Last: Two Books by Marcel Broodthaers / 40 Benjamin H. D. Buchloh Poetry, Photographs, and Films Sam Sackeroff and Teresa Velázquez 52 Objects Rafael García and Francesca Wilmott 76 The Object and Its Reproduction Francesca Wilmott 116 Literary Exhibitions Sam Sackeroff 136 Le Corbeau et le Renard 140 Exposition littéraire autour de Mallarmé 156 Musée–Museum Christian Rattemeyer 166 Musée d’Art Moderne, Département des Aigles 172 The Düsseldorf Years Doris Krystof 216 Related Works 224 Emblems of Authority Cathleen Chaffee 248 Paintings Kim Conaty 270 Décors Cathleen Chaffee 290 Exhibition History / 330 Selected Bibliography / 336 Catalogue of the Exhibition and Illustrated Works / 340 Trustees of The Museum of Modern Art / 350 6 7 DIRECTORS’ FOREWORD Marcel Broodthaers is an artist’s artist. Although he is not generally widely known, he has had a profound influence on the generations of artists that have followed, and any museum committed to contemporary art crosses path with his legacy at some point.
    [Show full text]
  • 2018 BAM Next Wave Festival #Bamnextwave
    2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts.
    [Show full text]
  • Chapter 12. the Avant-Garde in the Late 20Th Century 1
    Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college.
    [Show full text]
  • Donors 2015-2016 the Museum of Modern Art Moma PS1
    Donors 2015-2016 The Museum of Modern Art MoMA PS1 1 Trustees of The Museum of Modern Art Jerry I. Speyer Glenn Dubin Joan Tisch Chairman John Elkann Edgar Wachenheim III Laurence Fink Leon D. Black Glenn Fuhrman Honorary Trustees Co-Chairman Kathleen Fuld Lin Arison Howard Gardner Mrs. Jan Cowles Marie-Josée Kravis Anne Dias Griffin Lewis B. Cullman President Mimi Haas H.R.H. Duke Franz of Bavaria Alexandra A. Herzan Maurice R. Greenberg Sid R. Bass Marlene Hess Wynton Marsalis Mimi Haas Ronnie Heyman Richard E. Oldenburg* Marlene Hess AC Hudgins Lord Rogers of Riverside Richard E. Salomon Jill Kraus Ted Sann Vice Chairmen Marie-Josée Kravis Gilbert Silverman Ronald S. Lauder Yoshio Taniguchi Glenn D. Lowry Thomas H. Lee Eugene V. Thaw Director Michael Lynne Khalil Gibran Muhammad *Director Emeritus Richard E. Salomon Philip S. Niarchos Treasurer James G. Niven Ex-Officio Peter Norton Glenn D. Lowry James Gara Daniel S. Och Director Assistant Treasurer Maja Oeri Michael S. Ovitz Agnes Gund Patty Lipshutz Ronald O. Perelman Chairman of the Board of MoMA PS1 Secretary David Rockefeller, Jr. Sharon Percy Rockefeller Sharon Percy Rockefeller David Rockefeller Richard E. Salomon President of the International Council Honorary Chairman Marcus Samuelsson Anna Deavere Smith Thomas R. Osborne Ronald S. Lauder Jerry I. Speyer Ann Schaffer Honorary Chairman Ricardo Steinbruch Co-Chairmen of The Contemporary Daniel Sundheim Arts Council Robert B. Menschel Alice M. Tisch Chairman Emeritus Gary Winnick Bill de Blasio Mayor of the City of New York Agnes Gund Life Trustees President Emerita Eli Broad Gabrielle Fialkoff Douglas S.
    [Show full text]
  • 2005 ANNUAL REPORT CONTENTS 6 Economic 10 Studies Global Economy and Development 27 Katrina’S Lessons in Recovery
    QUALITY IMPACT AND INDEPENDENCE ANNUAL REPORT THE 2005 1775 Massachusetts Avenue, NW Washington, DC 20036 www.brookings.edu BROOKINGSINSTITUTION 2005 ANNUAL REPORT CONTENTS 6 Economic 10 Studies Global Economy and Development 27 Katrina’s Lessons in Recovery 39 Brookings Institution Press 14 40 Governance Center for Executive Education Studies 2 About Brookings 4 Chairman’s Message 5 President’s Message 31 Brookings Council 18 36 Honor Roll of Contributors Foreign 42 Financial Summary Policy Studies 44 Trustees 24 Metropolitan Policy Editor: Melissa Skolfield, Vice President for Communications Copyright ©2005 The Brookings Institution Writers: Katie Busch, Shawn Dhar, Anjetta McQueen, Ron Nessen 1775 Massachusetts Avenue, NW 28 Design and Print Production: The Magazine Group, Inc. Washington, DC 20036 Jeffrey Kibler, Virginia Reardon, Brenda Waugh Telephone: 202-797-6000 Support for Production Coordinator: Adrianna Pita Fax: 202-797-6004 Printing: Jarboe Printing www.brookings.edu Cover Photographs: (front cover) William Bradstreet/Folio, Inc., Library of Congress Card Number: 84-641502 Brookings (inside covers) Catherine Karnow/Folio, Inc. Broadcast reporters zoom in for a forum on a new compact for Iraq THE BROOKINGS INSTITUTION featuring U.S. Sen. Joseph Biden of Delaware. he Brookings Institution is a pri- vate nonprofit organization devoted to independent research and innovative policy solutions. Celebrating its 90th anniversary in 2006, Brookings analyzes current and emerging issues and produces new ideas that matter—for the nation and the world. ■ For policymakers and the media, Brookings scholars provide the highest-quality research, policy recommendations, and analysis on the full range of public policy issues. ■ Research at the Brookings Institution is conducted to inform the public debate, not advance a political agenda.
    [Show full text]
  • Real Presences Marcel Broodthaers Today 11 September 2010 – 16 January 2011 Kunsthalle Düsseldorf and Kunstverein Für Die Rheinlande Und Westfalen
    Real presences Marcel Broodthaers today 11 September 2010 – 16 January 2011 Kunsthalle Düsseldorf and Kunstverein für die Rheinlande und Westfalen This joint exhibition by the Kunsthalle Düsseldorf and Kunstverein für die Rheinlande und Westfalen presents selected works by international artists that make explicit reference to Marcel Broodthaers or that examine and further develop motifs from his oeuvre. These motifs include those that question the museum as an institution, examine imagination and outer appearance as a deconstruction of the cinematic image, and explore the relationship between language, writing and images. Ideas that were dealt with much later under the heading of institutional criticism also turn up in Broodthaers’ work, whose radical, pioneering qualities survive to this day. The exhibition conveys the Quadriennale theme “Kunstgegenwärtig” (art in the present) through the participating artists’ relationship with Broodthaers. By referring to Broodthaers’ work in a variety of ways and thus acknowledging him as a source of inspiration, they demonstrate the relevance and “real presence” of his oeuvre, even in his absence. Tacita Dean’s work Parrot depicts a parrot under palm trees in front of the Atomium in Brussels. The photograph, which the artist came across at a Brussels flea market, seems to be a rebus, a riddle to which there can be only one answer: Broodthaers. Dean is interested in exploring what is hidden and what is visible, especially with regard to unusual places and their past and present. Her films are infused with a painter’s sensibility and reflect absence and disappearance with unsettling intensity while at the same time questioning the very medium in which they are made.
    [Show full text]
  • The Studio Museum in Harlem Magazine Summer/Fall 2015 Studio Magazine Board of Trustees This Issue of Studio Is Underwritten, Editor-In-Chief Raymond J
    The Studio Museum in Harlem Magazine Summer/Fall 2015 Studio magazine Board of Trustees This issue of Studio is underwritten, Editor-in-Chief Raymond J. McGuire, Chairman in part, with support from Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Rodney M. Miller, Treasurer Creative Director The Studio Museum in Harlem is sup- Thelma Golden Dr. Anita Blanchard ported, in part, with public funds provided Jacqueline L. Bradley Managing Editor by the following government agencies and Valentino D. Carlotti Dana Liss elected representatives: Kathryn C. Chenault Joan S. Davidson Copy Editor The New York City Department of Cultural Gordon J. Davis, Esq. Samir S. Patel Aairs; New York State Council on the Dr. Henry Louis Gates, Jr. Arts, a state agency; National Endowment Design Sandra Grymes for the Arts; the New York City Council; Pentagram Arthur J. Humphrey Jr. and the Manhattan Borough President. George L. Knox Printing Nancy L. Lane Allied Printing Services The Studio Museum in Harlem is deeply Dr. Michael L. Lomax grateful to the following institutional do- Original Design Concept Bernard I. Lumpkin nors for their leadership support: 2X4, Inc. Dr. Amelia Ogunlesi Ann G. Tenenbaum Studio is published two times a year Bloomberg Philanthropies John T. Thompson by The Studio Museum in Harlem, Booth Ferris Foundation Reginald Van Lee 144 W. 125th St., New York, NY 10027. Ed Bradley Family Foundation The Ralph and Fanny Ellison Hon. Bill de Blasio, ex-oicio Copyright ©2015 Studio magazine. Charitable Trust Hon. Tom Finkelpearl, ex-oicio Ford Foundation All rights, including translation into other The Horace W. Goldsmith Foundation languages, are reserved by the publisher.
    [Show full text]
  • Food Art: Is It Collectible? Sharon Hecker Have You Ever Wondered
    Food Art: Is It Collectible? Sharon Hecker Have you ever wondered whether to collect Food Art and how does one go about it? Does it make sense for a collector or a museum to buy an artwork that can melt, rot or stink? What is the “value” of an artwork that can organically deteriorate? What kind of art historical due diligence and conservational treatments can be conducted on such a work? Art made of ephemeral material is nothing new. For the past century, artists have been experimenting with non-traditional media in art as a way of expressing their modernity: in the early 20th century, Picasso added bits of paper, string, rope and tickets to his paintings, Duchamp exhibited his Readymades, and Gabo worked with early synthetics such as plastic. As the century moved on, there was an explosion of uses of industrial materials from plastic to steel, as well as “poor” materials like coal, felt straw, tree branches, found objects, installations and performances with things found in nature. With the advent of Fluxus, Arte povera and Pop art, anything at all became fair game for making artworks. Among these experimental media was Food Art. In some cases, this medium became appreciated for its performance value and for the symbolic meaning of the food chosen by the artist. For example, Marcel Broodthaers’ signature materials, cracked eggshells and mussels, were intended as allusions to the difference between Belgian and French cultures and cuisines. Sometimes, as with Piero Manzoni’s boiled eggs in his performance Consumazione dell’arte dinamica del pubblico divorare l’arte (1960) or Felix-González-Torres’ candy installations, the food was presented to be eaten by viewers in a form of symbolic participation in the creation of the artwork.
    [Show full text]