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Mccarren Park Uart View All Monuments in NYC Parks, As Well As Temporary Public Art Installations on Our NYC Public Art Map and Guide I Map)
BOARD MEETING AFFIRMATION OF NEW MEMBERS Chairperson Ms. Fuller requested the new members to come forward to be affirmed. Mr. Solomon Green, Ms. Dana Rachlin, Mr. Michael Gary Schlesinger ROLL CALL Chairperson Ms. Fuller requested District Manager Mr. Esposito to call the roll. He informed the Chairperson that there were 39 members present, a sufficient quorum to call the meeting to order. MOMENT OF SILENCE Chairperson Ms. Fuller called for a moment of silence dedicated to Mr. Weidberg and his family, for the passing of Mr. Weidberg’s brother. ELECTIONS At 8:00 PM, Chairperson Ms. Fuller announced that it was time for elections. She requested the Elections Committee members [Ms. Barros; Ms. Foster; Mr. Torres] to come forward. Ballots were distributed and collected. The meeting continued while the Elections Committee convened in the other room to count the ballots. The committee reported the following regarding the elections: EXECUTIVE COMMITTEE POSITION CANDIDATE TALLY OF VOTES Chairperson Dealice Fuller 38 votes __________________________________________________________________________________ First Vice Chairperson Simon Weiser 23 votes. Karen Nieves 14 votes. __________________________________________________________________________________ Second Vice Chairperson Del Teague 38 votes. __________________________________________________________________________________ Third Vice Chairperson Stephen J. Weidberg 38 votes. __________________________________________________________________________________ Financial Secretary Maria Viera -
A Centennial History of the U.S. Commission of Fine Arts
CIVIC ART A Centennial History of the U.S. Commission of Fine Arts . . . , · Published by the U.S. Commission of Fine Arts · mmxiii United States Commission of Fine Arts 401 F Street, NW, Suite 312 Washington, D.C. 20001-2728 Telephone: 202-504-2260 www.cfa.gov The U.S. Commission of Fine Arts offers broad public access to its resources—including photographs, drawings, and official govern- ment documents—as a contribution to education, scholarship, and public information. The submission of documents to the Commis- sion of Fine Arts for review constitutes permission to use the documents for purposes related to the activities of the commission, including display, reproduction, publication, or distribution. printed and bound in the united states of america 16 15 14 13 4 3 2 1 U.S. Government Printing Office Cataloging-in-Publication Data Civic art : a centennial history of the U.S. Commission of Fine Arts / edited by Thomas E. Luebke. Washington, D.C. : [U.S. Commission of Fine Arts], 2013. p. cm. Supt. of Docs. no: FA 1.2: C 87 ISBN: 978-0-160897-02-3 1. Washington (D.C.)—Buildings, structures, etc. 2. U.S Commission of Fine Arts—History. 3. Public architecture—United States. 4. Architecture--Washington (D.C.)—History. I. Luebke, Thomas E. II. U.S. Commission of Fine Arts. Editor and Project Director: Thomas E. Luebke, FAIA Managing Editor: Mary M.Konsoulis Historian: Kathryn Fanning, PhD Architectural Historian: Eve Barsoum Illustration Editor: Sarah Batcheler Manuscript Editor: Beth Carmichael Meadows Design Office, Inc., Washington, D.C. Art Director and Designer: Marc Alain Meadows Assistant Editor: Caroline Taylor Imaging Assistant: Nancy Bratton : Michael Lantz, Man Controlling Trade, Federal Trade Commission building, 1937–42 (CFA collection). -
Free Speech in Peril
Cover Free Speech in Peril College—Where You Can’t Say What You Think pg. 1 MindingtheCampus.org Title Page FREE SPEECH IN PERIL College: Where You Can’t Say What You Think MINDING THE CAMPUS pg. 2 MindingtheCampus.org TABLE OF CONTENTS One: Exploiting Diversity as a Political PAGE 07 Wedge TK essays describing how once well-intentioned policies became corrupted by identity politics and bloated administrative staffs. The articles, like all others in this publication, were written primarily by professors and educators. Two: Rejecting the First Amendment PAGE 124 Today’s colleges and universities have mastered the art of intimidation—not only silencing students who might deviate from the current orthodoxy on campus, but also making it clear that professors risk their tenure if they don’t toe the political line. Three: Silencing Conservatives PAGE 207 In a powerful essay, author Charles Murray describes how protestors tried to stop him from speaking about his new book at Middlebury College, despite being invited by students. His experience was mirrored by many other conservative professors and analysts, including Heather Mac Donald and Professor Amy Wax. Four: Indoctrinating Students PAGE 260 It’s clear from the moment they set foot on campus that students have entered a monoculture. Everyone must believe in the same basic tenets—that if something or someone makes you “feel bad,” it’s evil. pg. 3 MindingtheCampus.org INTRODUCTION By John Leo “If men are to be precluded from offering their sentiments on a matter, which may involve the most serious and alarming consequences that can invite the consideration of mankind, reason is of no use to us; the freedom of speech may be taken away, and dumb and silent we may be led, like sheep, to the slaughter.” — George Washington, first U.S. -
The Turn of a Great Century
cover:Layout 1 8/27/09 9:34 PM Page 1 Guarisco Gallery The Turn of a Great Century 19th and Early 20th Century Paintings, Sculptures & Watercolors 1 WHY 19TH AND EARLY 20TH CENTURIES (The Optimal Period for Collecting) T he turn of the 19th century into the 20th has always proven to be one of the most interesting eras in art history. It is the century that witnessed the greatest expression of the Academic tradition and it is the era that launched modernism through the developments of Impressionism and Post-Impressionism. * * * * * * * * * * * * Academic: Realism. It is best defined as an artist’s mastery of a variety of painting techniques, including the depiction of atmosphere and natural light, intended to produce a picture that mimicked reality. This style reached its height in the latter part of the 19th century. Major artists of this period include: William Bouguereau, Jean-Léon Gérome, Alexandre Cabanel, Briton Riviere, and Lawrence Alma-Tadema. Modern: Impressionism and Post-Impressionism; the commencement of modern painting. This period is the beginning of experimentation with form, color, brushwork, and subject matter leading to modern art. These artists experimented with depicting the effects of light and using expressive color and brushwork to portray both figures and landscapes. Founding members include: Claude Monet, Eugène Boudin, Camille Pissarro, Pierre Auguste Renoir, and Albert Guillaumin—and their contemporaries—Edmond Petitjean, Henri Lebasque, Henri Martin, and Georges d’Espagnat. These artitsts produced works which continue to be most favored for their market value and aesthetic merit. 2 (at The Ritz-Carlton) Welcome to Guarisco Gallery Guarisco Gallery is a leading international gallery founded in 1980 specializing in museum quality 19th - and early 20th - century paintings and sculpture. -
2012-Fall-Magazine.Pdf
SALISBURY MAGAZINE FALL 2012 Board of Trustees Michael S. Sylvester ’59 Chairman Richard D. Field ’59 Vice-Chair Richard E. Riegel III ’84 Secretary T. Williams Roberts ’83 Treasurer Chisholm S. Chandler ’11 (Hon.) Headmaster Daniel M. Cain P’15 Lisa Callahan P’04, ’08, ’09 John W. Childs ’59 (Hon.) James W. Gerard ’79 Ashley Harrington P’13 Adelaide H. Harris P’07 G. Anne Harris Thomas M. Joyce P’13 Charles Lynch ’86 Eric Macy P’13 Helen S. Maher P’01 Mark T. Mulvoy ’92* Devin Price ’98 Thomas D. Rutherfoord, Jr. P’08 Amanda D. Rutledge P ’80, ’84 J. Wood Rutter ’98 (Hon.) J. Anton Schiffenhaus ’48 William H. Schweitzer P’04 . Lee B. Spencer P’09 James P. Townsend P’10 The mission of Salisbury School *ex-officio is to educate young men by inspiring in each student an enthusiasm for learning and the self- confidence needed for intellectual, spiritual, physical Trustees Emeritus and moral development. The close partnership John G. Brim ’64 of student and teacher encourages each young Dr. Richard S. Childs, Jr. ’63 man to take pride in his own education and to Barron G. Collier II ’70 make responsible decisions for his future. With H. Crosby Foster II ’57 established expectations for performance and Sir Eddie Kulukundis, OBE ’50 behavior, Salisbury School promotes service to Herbert A. May III ’83, P’12 others, trust and honesty, religious faith, and respect J. Richard Munro P’88, ’90 for ethnic, cultural, gender and learning differences. Edward C.A. Wachtmeister ’67, P’95, ’98 The School’s spirit of community fosters long- Jeffrey P. -
THE KOREAN WAR VETERANS MEMORIAL in CONTEXT by CORA
MEMORIALIZING A “FORGOTTEN WAR” THE KOREAN WAR VETERANS MEMORIAL IN CONTEXT by CORA GIBSON BANTA Bachelor of Arts, 2011 College of the Holy Cross Worcester, Massachusetts Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 MEMORIALIZING A “FORGOTTEN WAR” THE KOREAN WAR VETERANS MEMORIAL IN CONTEXT Thesis Approved: Committee Chair, Dr. Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History Dr. Frances Colpitt, Deedie Potter Rose Chair of Art History Dr. Margaret C. Conrads, Deputy Director of Art and Research, Amon Carter Museum of American Art Dr. Joseph Butler, Associate Dean for the College of Fine Arts ii Copyright 2014 by Cora Gibson Banta All rights reserved iii ACKNOWLEDGEMENTS I would like to express my gratitude to my thesis committee members— Texas Christian University, Committee Chair Dr. Mark Thistlethwaite and Dr. Francesfrom Colpitt, and from the Amon Carter Museum of American Art Dr. Margaret Conrads—for their time and efforts in guiding me in researching and writing this thesis. I would also like to thank Dr. Lori Diel, Dr. Babette Bohn, Dr. Amy Freund, Edie Riley-Peinado, and Sharon Gouwens for supporting my academic pursuits. I am also thankful to Texas Christian University for the Mary Jane and Robert Sunkel Art History Research Award that funded my travel to Washington, D.C. to experience the Korean War Veterans Memorial and National Mall first hand. Thank you to my fellow graduate school classmates and friends—Rafael Barrientos, Kristin DiGioia, Alexi Riggins, Ma'Lisa Yost, and Brendan Walsh—for supporting me throughout graduate school. -
From Florence, to London, to New York: Mr. Morgan's Bronze Doors
Lynn Catterson From Florence, to London, to New York: Mr. Morgan’s Bronze Doors Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Citation: Lynn Catterson, “From Florence, to London, to New York: Mr. Morgan’s Bronze Doors,” Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017), https://doi.org/ 10.29411/ncaw.2017.16.2.4. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Catterson: From Florence, to London, to New York: Mr. Morgan’s Bronze Doors Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) From Florence, to London, to New York: Mr. Morgan’s Bronze Doors by Lynn Catterson This article, based on recently discovered material in several archives, tells the story of the bronze doors of the Morgan Library.[1] It narrates the travel of the allegedly Renaissance bronze doors from their acquisition in Florence in 1901, to their brief sojourn in London before arriving in New York to adorn the principal façade of McKim, Mead & White’s building. This case study also addresses the attribution of the work to Thomas Waldo Story (1855– 1915) and analyzes his position within the complex social microcosm of the art market in which the acquisition of J. Pierpont Morgan’s doors took place. The Transaction of the Doors On Friday, May 10, 1901, the New York attorney and financier William Salomon (1852– 1919)[2] visited Florence in order to acquire art and decorative furnishings for his future mansion at 1020 Fifth Avenue, across the street from the Metropolitan Museum of Art. -
EREN HBO Max Pulls 'Gone with the Wind,' Citing Racist Depictions
EREN HBO Max Pulls ‘Gone With the Wind,’ Citing Racist Depictions The New York Times, by Daniel Victor, June 10, 2020 The streaming service said it planned to eventually bring the 1939 film back “with a discussion of its historical context.” HBO Max has removed from its catalog “Gone With the Wind,” the 1939 movie long considered a triumph of American cinema but one that romanticizes the Civil War-era South while glossing over its racial sins. The streaming service pledged to eventually bring the film back “with a discussion of its historical context” while denouncing its racial missteps, a spokesperson said in a statement on Tuesday. Set on a plantation and in Atlanta, the film won multiple Academy Awards, including best picture and best supporting actress for Hattie McDaniel, the first African-American to win an Oscar, and it remains among the most celebrated movies in cinematic history. But its rose-tinted depiction of the antebellum South and its blindness to the horrors of slavery have long been criticized, and that scrutiny was renewed this week as protests over police brutality and the death of George Floyd continued to pull the United States into a wide- ranging conversation about race. “‘Gone With the Wind’ is a product of its time and depicts some of the ethnic and racial prejudices that have, unfortunately, been commonplace in American society,” an HBO Max spokesperson said in a statement. “These racist depictions were wrong then and are wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible.” HBO Max, owned by AT&T, pulled the film on Tuesday, one day after John Ridley, the screenwriter of “12 Years a Slave,” wrote an op-ed in The Los Angeles Times calling for its removal. -
Ms0763 Draft 2
801 K Street NW Washington, D.C. 20001 www.DCHistory.org SPECIAL COLLECTIONS FINDING AID Title: MS 0763 Michael Richman Papers, 1965-2005 Processors: Sara Phan, Walter Albano Processed Date: 2008, 2010, 2015 [Finding Aid last updated March 2016] Michael Tingley Richman (b. 1943) attended St. Albans' School in Washington, D.C. He received his B.A. from Bowdoin College, Brunswick, Maine, in 1965; his M.A. in art history from George Washington University in 1970; and his Ph.D. in art history from the University of Delaware in 1974. He held a Samuel H. Kress fellowship at the National Gallery of Art in 1971-1972. He was hired by the National Trust for Historic Preservation while finishing his dissertation on Daniel Chester French. During his association with the National Trust for Historic Preservation, Richman edited the Daniel Chester French Papers, which are not included in the collections of the Historical Society of Washington, D.C. He directed a major retrospective of Daniel Chester French's sculpture, "Daniel Chester French: An American Sculptor," exhibited in 1976-1977. He also curated exhibitions of modern outdoor sculpture at Chesterwood, Daniel Chester French's home, in 1980, 1982, and 1985. Richman taught, lectured, and wrote extensively on public sculpture in Washington, D.C., at institutions such as American University, George Washington University, and George Mason University. Richman also chaired academic panels on American sculpture. Richman consulted and researched extensively on American public sculpture and monuments for government agencies. In 1973-1974 he completed an inventory of public sculpture in Washington, D.C., for the National Park Service (NPS).