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Annual Report 2016
Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors. -
EDISON's Warriors
EDISON’S WaRRIORS Christoph Cox Real security can only be attained in the long run through confusion. — Hilton Howell Railey, commander of the Army Experimental Station1 Simulantur quae non sunt. Quae sunt vero dissimulantur. — Motto of the 23rd Special Troops2 In “The Invisible Generation,” an experimental text from 1962, William S. Burroughs unveiled a proposal to unleash urban mayhem via the use of portable tape recorders. “Now consider the harm that can be done and has been done when recording and playback is expertly carried out in such a way that the people affected do not know what is happening,” he wrote. “Bands of irresponsible youths with tape recorders playing back traffic sounds that confuse motorists,” Burroughs gleefully imagined, could incite “riots and demonstrations to order.”3 Championing the productive (and destructive) powers of portable audio, “The Invisible Generation” is an emblematic text in the history of sound art and DJ culture. Yet, nearly 20 years earlier, Burroughs’s vision had already been conceived and deployed by none other than the United States Army, whose “ghost army,” the 23rd Special Troops, included several units dedicated to “sonic deception” and its results: enemy confusion and carnage.4 The first division in American Armed Forces history assigned exclusively to camouflage and deception, the 23rd was a military oddity. Despite the centrality of deception in the history of warfare from the Trojan Horse on, soldiers drilled in the West Point code of duty, honor, trust, and integrity were ill-suited to a life of simulation and dissimulation; and American officers tended to dismiss deceptive tactics as underhanded, a sign of weakness in every sense.5 It’s not surprising, then, that the 23rd consisted primarily of a population with an occupational predisposition to deception, invention, and fabrication: artists. -
The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Online
XumZy [Read now] The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Online [XumZy.ebook] The Ghost Army of World War II: How One Top- Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Pdf Free Rick Beyer, Elizabeth Sayles DOC | *audiobook | ebooks | Download PDF | ePub #19765 in Audible 2016-01-08Format: UnabridgedOriginal language:EnglishRunning time: 252 minutes | File size: 67.Mb Rick Beyer, Elizabeth Sayles : The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery before purchasing it in order to gage whether or not it would be worth my time, and all praised The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery: 46 of 46 people found the following review helpful. A MUST READ FOR ANY FAN OF WWIIBy RC MayerImagine, captured German maps showing 15,000 Allied troops in a location that there were no troops. Imagine, Nazirsquo;s keeping their soldiers out of position opposite what they think are thousand of enemy troops. Imagine, they can hear the US tanks lining up on the opposite riverbank. They can even here the soldiers yell ldquo;Hey Private! Put out that cigarette! Therersquo;s gas tanks over there!rdquo; Imagine, Nazi civilian spys transmitting radio broadcasts to Berlin that they overheard conversations in a pub in from soldiers in 4th Infantry Division that they were moving into Metz this evening. -
Feminist Artists' Book Projects of the 1980-90S
1 Bookworks as Networks: Feminist Artists’ Book Projects of the 1980-90s Caroline Fazzini Recent trends in contemporary exhibition, academic, and artistic practices in the U.S. illuminate a persistent concentration of efforts to present more complete versions of the past, specifically regarding issues of diversity and representation. Some museums and art historians have responded to the call for inclusivity by supporting exhibitions that focus on artists who have been marginalized. We Wanted a Revolution: Black Radical Women, 1965-1985, and Radical Women: Latin American Art, 1960-1985, which opened in 2017 at the Brooklyn Museum and the Hammer Museum, respectively, exemplify this corresponding surge of interest within the art and academic worlds of the Americas regarding women artists, and particularly women artists of color. My studies of these exhibitions, as well as my interest in artists’ books, led me to identify two collaborative artists’ book projects that emerged in the late 1980s, in the immediate aftermath of the time periods addressed in both We Wanted a Revolution and Radical Women. I aim to contribute to revisionist scholarly efforts by examining these two projects: Coast to Coast: A Women of Color National Artists’ Book Project (1987-1990) and Connections project/Conexus (1986-1989). Both were first and foremost, meant to initiate dialogues and relationships between women across borders through the making of art and artists’ books. While neither project has received scholarly attention to date, they are important examples of feminist collaborations between women artists. The projects, Connections project/Conexus (1986-1989), organized by Josely Carvalho and Sabra Moore, and Coast to Coast: A Women of Color National Artists’ Book Project (1987- 90), organized by Faith Ringgold and Clarissa Sligh, both took advantage of the accessibility of 2 artists’ books in an effort to include and encourage the participation of women artists. -
S. Price Patchwork History : Tracing Artworlds in the African Diaspora Essay on Interpretations of Visual Art in Societies of the African Diaspora
S. Price Patchwork history : tracing artworlds in the African diaspora Essay on interpretations of visual art in societies of the African diaspora. Author relates this to recent shifts in anthropology and art history/criticism toward an increasing combining of art and anthropology and integration of art with social and cultural developments, and the impact of these shifts on Afro-American studies. To exemplify this, she focuses on clothing (among Maroons in the Guianas), quilts, and gallery art. She emphasizes the role of developments in America in these fabrics, apart from just the African origins. In: New West Indian Guide/ Nieuwe West-Indische Gids 75 (2001), no: 1/2, Leiden, 5-34 This PDF-file was downloaded from http://www.kitlv-journals.nl SALLY PRICE PATCHWORK HISTORY: TRACING ARTWORLDS IN THE AFRICAN DIASPORA This paper considers interpretations of visual art in societies of the African diaspora, setting them within the context of recent theoretical shifts in the dis- ciplines of anthropology and art history/criticism. I will be arguing for the relevance to Afro-American studies of these broader disciplinary changes, which have fundamentally reoriented scholarship on arts that, for the most part, fall outside of what Joseph Alsop (1982) has dubbed "The Great Tradi- tions." Toward that end, I begin with a general assessment of these theoretical shifts (Part 1: Anthropology and Art History Shake Hands) before moving into an exploration of their impact on Afro-American studies (Part 2: Mapping the African-American Artworld). I then -
Ghost Army Generic Release
New Documentary Reveals the Amazing Story of the Secret WWII Unit That Duped Hitler’s Army — With Rubber Tanks, Sound Effects and Multimedia Illusions War, deception and art come together in Rick Beyer’s documentary The Ghost Army, the astonishing true story of American G.I.s — many of whom would go on to have illustrious careers in art, design and fashion — who tricked the enemy with rubber tanks, sound effects, and carefully crafted illusions during the Second World War. The Ghost Army tells a remarkable story of a top-secret mission that was at once absurd, deadly and amazingly effective. An inflatable tank designed to fool German soldiers. Credit: National Archives In the summer of 1944, a handpicked group of G.I.s landed in France to conduct a special mission. Armed with truckloads of inflatable tanks, a massive collection of sound effects records, and more than a few tricks up their sleeves, their job was to create a traveling road show of deception on the battlefields of Europe, with the German Army as their audience. From Normandy to the Rhine, the 1100 men of the 23rd Headquarters Special Troops, known as the Ghost Army, conjured up phony convoys, phantom divisions, and make-believe headquarters to fool the enemy about the strength and location of American units. Every move they made was top secret and their story was hushed up for decades after the war’s end. Each deception required that they impersonate a different (and vastly larger) U.S. unit. Like actors in a repertory theater, they would mount an ever-changing multimedia show tailored to each deception. -
Thoughts About Paintings Conservation This Page Intentionally Left Blank Personal Viewpoints
PERSONAL VIEWPOINTS Thoughts about Paintings Conservation This page intentionally left blank Personal Viewpoints Thoughts about Paintings Conservation A Seminar Organized by the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001 EDITED BY Mark Leonard THE GETTY CONSERVATION INSTITUTE LOS ANGELES & 2003 J- Paul Getty Trust THE GETTY CONSERVATION INSTITUTE Getty Publications 1200 Getty Center Drive, Suite 500 Timothy P. Whalen, Director Los Angeles, CA 90049-1682 Jeanne Marie Teutónico, Associate Director, www.getty.edu Field Projects and Science Christopher Hudson, Publisher The Getty Conservation Institute works interna- Mark Greenberg, Editor in Chief tionally to advance conservation and to enhance Tobi Levenberg Kaplan, Manuscript Editor and encourage the preservation and understanding Jeffrey Cohen, Designer of the visual arts in all of their dimensions— Elizabeth Chapín Kahn, Production Coordinator objects, collections, architecture, and sites. The Institute serves the conservation community through Typeset by G&S Typesetters, Inc., Austin, Texas scientific research; education and training; field Printed in Hong Kong by Imago projects; and the dissemination of the results of both its work and the work of others in the field. Library of Congress In all its endeavors, the Institute is committed Cataloging-in-Publication Data to addressing unanswered questions and promoting the highest possible standards of conservation Personal viewpoints : thoughts about paintings practice. conservation : a seminar organized by The J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001 /volume editor, Mark Leonard, p. -
Diaspora/Strategies/Realities a Conference Paper on African
n.paradoxa online, issue 7 July 1998 Editor: Katy Deepwell n.paradoxa online issue no.7 July 1998 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 7, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue7.pdf July 1998, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.7 July 1998 ISSN: 1462-0426 2 List of Contents Pennina Barnett Materiality, Subjectivity & Abjection in the Work ofChohreh Feyzdjou, Nina Saunders and Cathy de Monchaux 4 Howardena Pindell Diaspora/Strategies/Realities 12 Jane Fletcher Uncanny Resemblances: The Uncanny Effect of Sally Mann's Immediate Family 27 Suzana Milevska Female Art Through the Looking Glass 38 Katy Deepwell Out of Sight / Out of Action 42 Diary of an Ageing Art Slut 46 n.paradoxa online issue no.7 July 1998 ISSN: 1462-0426 3 Diaspora/Realities/Strategies Howardena Pindell African-American artists in the diaspora face continuing cutbacks in American government funding of the arts due to conservative pressure in Congress, a situation which has led to the restriction and/ or curtailment of organisations serving African-American communities and the general public. -
Radcliffe Bailey
513 WEST 20TH STREET NEW YORK, NEW YORK 10011 TEL: 212.645.1701 FAX: 212.645.8316 JACK SHAINMAN GALLERY RADCLIFFE BAILEY SELECTED BIBLIOGRAPHY (BOOKS & EXHIBITION CATALOGUES) 2019 Sculpture Milwaukee, 2019: p. 12-13, illustrated. 2018 Finley, Cheryl. Committed to Memory: The Art of the Slave Ship Icon. Princeton University Press, 2018: pp. 241-242, illustrated. Santoro, Artur, et al. Histórias Afro-Atlânticas (exhibition catalogue). Museu De Arte De São Paulo Assis Chateaubriand, June 29 – October 21, 2018: pp. 49, 60, illustrated. Anne Bilyeu, Elizabeth. Witness: Themes of Social Justice in Contemporary Printmaking and Photography, Jordon D. Schnitzer Family Foundation, 2018: p. 47-49, illustrated. Shifting Gaze: A Reconstruction of the Black & Hispanic Body in Contemporary Art, Mennello Museum of Art, 2018: p. 27, illustrated. 2016 Yates, Joey and Aldy Milliken. Material Issue (exhibition catalogue), Kentucky Museum of Art and Craft, Louisville, Kentucky, June 4 – September 4, 2016: pp. 12-13, illustrated. Cochran, Rebecca, Kurzner, Lisa, Rooks, Michael and Wieland, John. Homeward: Selections from the Wieland Collection. The Wieland Collection. 2016: pp.169, 200, illustrated. 2015 Slome, Manon and Naomi Hersson-Ringskog. Bring In The Reality. (exhibition catalogue). No Longer Empty, Nathan Cummings Foundation, New York, May 13 – September 11, 2015: p. 7, illustrated. Art in Embassies Exhibition. United States Embassy Rabat. 2015: pp. 10-11, cover, illustrated. Nasher 10. Nasher Museum of Art at Duke University. 2015: p. 127, illustrated. 2014 Bailey, Radcliffe, and Loretta Yarlow. Ten Contemporary Artists Explore the Legacy of W.E.B. Du Bois in Our Time. (exhibition catalogue), UMASS Amherst, University Museum of Contemporary Art, 2014: pp. -
African American Art Since 1950: Perspectives from the David C
African American Art Since 1950: Perspectives from the David C. Driskell Center Resource made possible through our partnerships with: Welcome to the Figge Art Museum’s Teacher Resource Guide These cards describe selected works from the exhibition. Use them to engage with the artwork, find facts about the artists, and facilitate learning. Resources are provided on each card for additional research. About the Exhibition In 1976, David C. Driskell curated the groundbreaking exhibition, Two Centuries of Black American Art: 1750-1950. The exhibition explored the depth and breadth of African American art, often marginalized by historical texts. It had massive influence on both the artists and the general public. The David C. Driskell Center has organized the exhibition, African American Art Since 1950, Perspectives from the David C. Driskell Center, as a response to Two Centuries. The exhibition explores the rising prominence and the complexity of African American art from the last 60 years. Many leading African American artists are featured in this exhibition including: Romare Bearden, Faith Ringgold, Jacob Lawrence, Betye Saar, Radcliffe Bailey, Kara Walker and Carrie Mae Weems. This exhibition gives a picture of the diversity of recent African American art, with its many approaches and media represented. The works explore various themes including: political activism, race, stereotypes, cultural and social identity, music, abstraction, among others. Featured Artists Radcliffe Bailey Romare Bearden Sheila Pree Bright Kevin Cole David C. Driskell Vanessa German Robin Holder Margo Humphrey Jacob Lawrence Kerry James Marshall Faith Ringgold Lorna Simpson Hank Willis Thomas Carrie Mae Weems Radcliffe Bailey Until I Die/Georgia Trees and the Upper Room, 1997 Color aquatint with photogravure and chin collé © 2011 Radcliffe Bailey Gift from the Jean and Robert E. -
1998 Loans from the Collection
1998 Loans from the Collection Kenneth Adams, New Mexico. Crayon on paper, 18 x 24 in. Oscar Berninghaus, Cemetery in New Mexico, ca.1940. Oil on Bequest of Marion Koogler McNay, 1950.1. panel, 9 x 13 in. Gift of Dr. and Mrs. William C. Winter, 1981.35. E. Martin Hennings, Thistle Blossoms, 1929. Oil on canvas, 40 x Berninghaus: Taos Founder/Taos Son. Panhandle-Plains Museum, 40 in. Collection of the Tobin Foundation. Canyon, Texas, November 15, 1998–February 28, 1999. John Ward Lockwood, Summer Landscape, Taos, N.M. Arthur Dove, The Brothers, 1942. Tempera and wax emulsion on Watercolor on paper, 13 15/16 x 20 in. Bequest of Marion Koogler canvas, 20 x 28 in. Gift of Robert L. B. Tobin through the Friends McNay, 1950.88. of the McNay, 1962.3. Enchanted: Taos Art from Texas Collections. Panhandle-Plains Arthur Dove: A Retrospective Exhibition. Last two venues only; Historical Museum, September 6—November 15, 1998. Addison Gallery of American Art, Andover, Massachusetts, April 24–July 14, 1998; Los Angeles County Museum of Art, Rafael Aragón, Our Lady of Guadalupe. Water soluble paint August 2–October 4, 1998. on panel, 22 3/4 x 17 in. Bequest of Marion Koogler McNay, 1950.290. Paul Gauguin, Portrait of the Artist with the Idol, ca.1893. Oil on canvas, 17 1/4 x 12 7/8 in. Bequest of Marion Koogler McNay, El Alma del Pueblo: Spanish Folk Art and its Transformation in 1950.46. the Americas. San Antonio Museum of Art, October 17, 1997– January 4, 1998; Art Museum at Florida International University, Paul Gauguin Tahiti, 1891-1893. -
001 HU Quick Facts 2007 7/18/07 2:11 PM Page 1
2007 HUFBMG Cover 7/18/07 3:18 PM Page 1 2007 Hampton University Football Media Guide 2007 HUFBMG Cover 7/18/07 3:18 PM Page 2 Hampton University Football Under Joe Taylor 44 All-Americans 14 Conference Players of the Year 8 Conference Championships (5 MEAC, 3 CIAA) 7 NCAA Playoff Appearances (5 Division I FCS, 2 Division II) 4 SBN Black College National Championships 001 HU Quick Facts 2007 7/18/07 2:11 PM Page 1 It’sIt’s aa VisionVision NotNot aa DreamDream Quick Facts 2007 Schedule DATE OPPONENT Name of School Hampton University 9/8 at Howard City/Zip Hampton, Virginia 23668 Founded 1868 9/15 at North Carolina A&T Enrollment 6,156 Nickname Pirates 9/20 Morgan State School Colors Royal Blue and White 9/29 Delaware State Stadium Armstrong Stadium Capacity 17,000 10/6 at Princeton Surface Natural Grass Affiliation NCAA Division I-AA 10/13 at Norfolk State Conference Mid-Eastern Athletic Conference President Dr. William R. Harvey 10/20 South Carolina State (HC) Athletics Director Lonza Hardy, Jr. 10/27 at Winston-Salem State Athletic Phone (757) 728-6747 11/3 at Bethune-Cookman History 11/10 Florida A&M First Year of Football 1902 11/17 Southern Illinois All-time Bowl/Playoff Record 1-8 Years In Post-Season Play 8 Last Post-Season Appearance 2006 All-Time Record 507-357-34 Team Information Sports Information Directory 2006 Record: 10-2 Football SID Jamar Ross SID Office Phone (757) 727-5757 2006 Conference Record/Finish: 7-1/1st SID Home Phone (757) 871-9475 Lettermen Returning/Lost: 47/25 SID Fax (757) 727-5813 Offensive Starters Returning/Lost: 3/8 Email [email protected] Press Box Phone (757) 727-5422 Defensive Starters Returning/Lost: 6/5 Website: www.hamptonpirates.com Specialists Starters Returning/Lost: 1/1 SID Mailing Address 194 Holland Hall Basic Offense Spread Hampton, Virginia 23668 Basic Defense 3-4 Coaching Staff Head Coach Joseph Taylor Alma Mater/Year Western Illinois ’72 Record at Hampton (Years) 130-43-1 (15 years) 2006 Results Overall Record (Years) 191-71-4 (24 years) Football Office Phone (757) 727-5322 Date Opponent Res.