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*LRB09323537CSA54020r* HR1236 LRB093 23537 CSA 54020 r 1 HOUSE RESOLUTION 2 WHEREAS, The members of the House of Representatives of the 3 State of Illinois wish to congratulate the Timothy B. 4 Blackstone Library, 4904 S. Lake Park Avenue, in the Hyde Park 5 area of Chicago, Illinois, on the occasion of the celebration 6 of its 100th anniversary, which was celebrated on September 18, 7 2004; and 8 WHEREAS, The Blackstone Library, the first branch in the 9 Chicago Public Library system, was opened in 1904 as a tribute 10 to the late Timothy B. Blackstone by his wife, Isabella; and 11 WHEREAS, For 100 years, the library has been a beacon of 12 learning in the Hyde Park area; and 13 WHEREAS, Many hundreds of people have made it possible for 14 the ideas and hopes that first went into the building to come 15 alive through all these years; and 16 WHEREAS, The library has been one of the architectural 17 crown jewels of the Hyde Park-Kenwood community, having been 18 designed by Solon S. Beman as a replica of the 450 B.C. Greek 19 temple "Erecthion" in Athens; and 20 WHEREAS, In 1939, an addition was built to house the 21 Children's library and a substantial restoration of the entire 22 building was completed in 1980; and 23 WHEREAS, The 100th anniversary celebration drew current 24 and former Hyde Park residents, some of whom are distinquished 25 community leaders, authors, and public servants; and 26 WHEREAS, The Blackstone Library has been a wonderful asset 27 for the community, and those who grew up using the library have 28 expressed their -
Summer 2011 Classes June 13 – August 21
Evanston Art Center ADULT CLASSES Ceramics Digital Arts Drawing and Painting Express Figure Sculpture and Sculpture Immersion Week Jewelry and Metalsmithing Metal Sculpture Photography Printmaking Workshops YOUTH AND FAMILY Preschool Middle School High School Family Workshops Summer Camps June 13 – August 26 Summer 2011 Classes 2603 Sheridan Road Evanston, IL 60201 June 13 – August 21 847.475.5300 www.evanstonartcenter.org ear Friends, MISSION This is my last letter to you as EAC president, and, guessing The Evanston Art Center, founded in 1929, is that you might not remember all the things I have said and dedicated to fostering the appreciation and written over the past four years, please allow me a bit of expression of the visual arts among the diverse repetition and a bit of reminiscing. audiences of the North Shore and Greater D Chicago areas. The Evanston Art Center achieves its mission through studio art classes, When I retired from the world of symphonies and operas I breathed a sigh exhibitions, outreach activities, educational of gratitude for the wonderful world I had inhabited for forty-fi ve years programs, and publications, all of which are (can you imagine actually getting paid for conducting “La Boheme” ), and, designed to engage and enrich the individual I breathed another sigh of relief for fi nally being done with organizational and the community. fi nancial anxiety. Let someone else worry about the budget In carrying out this mission, the Evanston Art Center strives to encourage lifelong learning I innocently knocked on the doors of the in the arts and to make the art of our time an Evanston Art Center, and signed up for a accessible and integral part of people’s lives. -
Corey Postiglione, Ukrainian Museum of Modern Art, Chicago, Dates TBD
C O R E Y P O S T I G L I O N E E-mail: [email protected] Website: www.coreypostiglione.com Born Chicago, IL Education MA The School of the Art Institute of Chicago 20th Century Art History, Theory, and Criticism Studied with Judith Kirshner, Craig Owens, and Richard Shiff BA University of Illinois Chicago Painting/Sculpture/Printmaking Teaching Experience 2013 - 14 Coordinator, Art History, Columbia College Chicago 1999 - 03 Coordinator, 2-D Design, Columbia College Chicago 1990 - 99 Coordinator, Art History, Columbia College Chicago Professor Art History, Critical Theory, and Studio Arts 1975-90 Adjunct Assistant Professor, Department of Architecture, Illinois Institute of Technology, Chicago 1979-89 Instructor, Contemporary Art History, Drawing, Painting, 2-D design, Columbia College Chicago 1983-84, 86 Adjunct Assistant Professor, Drawing (Summer Session), University of Illinois Chicago 1981-83 Visiting Artist, Drawing and Composition, School of the Art Institute of Chicago 1971-79 Instructor, Contemporary Art History, Painting and Drawing, Evanston Art Center, Evanston, IL Selected One-Person and Upcoming Exhibitions 2021 (Two-Person) “Kindred Spirits: Recent Work by Kathie Shaw and Corey Postiglione, Ukrainian Museum of Modern Art, Chicago, dates TBD 2020 Two Person Exhibition, “Corey Postiglione and Kathie Shaw, Innovation and Collaboration,” Metropolitan Capital Bank, April-Sept. Chicago iL 2020 (Two-Person) “Kindred Spirits: Recent Work by Kathie Shaw and Corey Postiglione, St. Francis University, Joliet, IL, exact fall dates TBD 2018 (Two-Person) “Kindred Spirits: Recent Work by Kathie Shaw and Corey Postiglione, Koehnline Museum of Art, Des Plaines, IL, May 10 – June 24 2017 Featuring Corey Postiglione, Westbrook Modern Gallery, Carmel, CA (ongoing) 2016 “Population #5,” Experimental Sound Studio Gallery, Installation & Wall Painting, Chicago (Nov 5 - Dec 18) 1 2016 “Fusion: Tango Abstraction,” new work by Corey Postiglione, Gallery 116, St. -
American Library Book Catalogues, 1801-1875: a National Bibliography
U I LUNG I S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. Occasional Papers No. 203/204 April 1996 AMERICAN LIBRARY BOOK CATALOGUES, 1801-1875: A NATIONAL BIBLIOGRAPHY By Robert Singerman Graduate School of Library and Information Science University of Illinois at Urbana-Champaign © 1996 The Board of Trustees of The University of Illinois Manufactured in the United States of America Printed on acid-free paper ISSN 0276 1769 ISBN 0-87845-098-X OCCASIONAL PAPERS deal with any aspect oflibrarianship and consist of papers that are too long or too detailed for publication in a periodical or that are of specialized or temporary interest. Manuscripts for inclusion in this series are invited and should be sent to: OCCASIONAL PAPERS, Graduate School of Library and Information Science, The Publications Office, University of Illinois at Urbana-Champaign, 501 E. Daniel Street, Champaign, Illinois 61820. Papers in this series are issued irregularly, and no more often than monthly. Individual copies may be ordered; back issues are available. Please check with the publisher: All orders must be accompanied by payment. Standing orders may also be established. Send orders to: OCCASIONAL PAPERS, The Publications Office, Graduate School of Library and Information Science, University of Illinois at Urbana-Champaign, 501 E. Daniel Street, Champaign, Illinois 61820. Telephone 217-333-1359. Email [email protected]. Make checks payable to University of Illinois. Visa, Mastercard, American Express and Discover accepted. James S. Dowling, Managing Editor PUBLICATIONS COMMITTEE Leigh Estabrook, Betsy Hearne, D. -
Artforum — April 1St, 2020 Gladys Nilsson At
Gladys Nilsson Matthew Marks Gallery | 523 WEST 24TH ST & Garth Greenan Gallery “Honk! Fifty Years of Painting,” an energizing, deeply satisfying pair of shows devoted to the work of Gladys Nilsson that occupied both Mat- thew Marks’s Twenty-Fourth Street space, where it remains on view through April 18, and Garth Gre- enan Gallery, took its title from one of the earliest Gladys Nilsson, Plain Air, 2018, acrylic and paper on canvas, 40 × 60”. works on display: Honk, 1964, a tiny, Technicolor street scene in acrylic that focuses on a pair of elderly couples, which the Imagist made two years out of art school. The men, bearded and stooped, lean on canes, while the women sport dark sunglasses beneath their blue-and-chartreuse beehives. They are boxed in by four more figures: Some blank-eyed and grimacing, others skulking under fedoras pulled low. The scene might suggest a vague kind of menace were it not for the little green noisemakers dangling from the bright-red lips of the central quartet, marking them as sly revelers rather than potential victims of some unspecified mayhem. The painting’s acid palette and thickly stylized figures obviously owe a debt to Expres- sionism, whose lessons Nilsson thoroughly absorbed during regular museum visits in her youth, but its sen- sibility is more Yellow Submarine than Blaue Reiter, its grotesquerie leavened with genial good humor. The Marks portion of the show focuses primarily on the first decade of Nilsson’s career, while Greenan’s featured works made in the past few years, the two constituent parts together neatly bookending the art- ist’s richly varied and lamentably underappreciated oeuvre. -
Chicago Neighborhood Walk Kenwood
Kenwood Walk The first resident of Kenwood was John Kennicott who named his home Kenwood after his ancestral land in Scotland. When the Illinois Central built a small depot in the area, they named the station Kenwood and eventually the area became known as Kenwood. Kenwood developed between 1850 and 1880 as a pleasant respite from the congestion of the city. Kenwood became home to many of Chicago’s most prominent citizens and was referred to as the “Lake Forest of the South Side.” It was annexed to Chicago in 1889. The Historical Kenwood District is on the National Register of Historic Places as are some of its most notable homes. Architectural styles ranging from Italianate and Colonial Revival to Queen Anne and Prairie School can be found here. Drive to E. 48th Street and Drexel Boulevard and look for a place to park along Drexel Boulevard or nearby. Walk south down the boulevard on the west side of the boulevard and take in the homes on the way to your first stop. 1.) 4938 S. Drexel Blvd., McGill House One of the grandest mansions in the Kenwood community, the McGill House is a commanding presence on Drexel Boulevard, one of Chicago’s most impressive South-Side boulevards. The massively-scaled “picturesque” mansion was constructed in 1891 as the residence of physician and entrepreneur Dr. John A. McGill. Drawing inspiration from medieval and French Renaissance building traditions, the McGill House, designed by nationally noted architect Henry Ives Cobb, is an exceptional early example of Châteauesque-style architecture. Following the completion of the McGill House, Cobb was instrumental in the planning of the campus of the University of Chicago and the design of eighteen of the campus’s striking Gothic structures in the nearby Hyde Park neighborhood. -
To Download Resume in Pdf Format
G L A D Y S N I L S S O N BORN 1940 Chicago, IL EDUCATION 1962 The School of the Art Institute of Chicago FELLOWSHIPS & AWARDS 2004 William A. Patton Prize for Watercolor, The 179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, NY 1974 & 89 NEA Fellowship SELECTED SOLO EXHIBITIONS 2017 Gladys Nilsson: The 1980s, Garth Greenan Gallery, New York, NY 2014 Solo Show at Garth Greenan Gallery, New York NY 2013 Hidden Treasures Unveiled: Watercolors Pennsylvania Academy of The Fine Arts, Philadelphia, PA 2012 Jean Albano Gallery, Chicago, IL 2011 Hanes Art Gallery, Wake Forest University, Winston-Salem, NC 2010 Gladys Nilsson: Works from 1966-2010, Ukrainian Institute of Modern Art, Chicago, IL 2009 Jean Albano Gallery, Chicago, IL 2008 Luise Ross Gallery, New York, NY The Baseball Show, Jean Albano Gallery, Chicago, IL 2007 25 Years of Watercolors, Jean Albano Gallery, Chicago, IL 2006 Rockford College Art Museum, Rockford, IL Tarble Art Center, Eastern Illinois University, Charleston, IL 2005 Jean Albano Gallery, Chicago, IL University Art Gallery, Saginaw Valley State University, University Center, MI 2004 Tory Folliard Gallery, Milwaukee, WI 2003 Jean Albano Gallery, Chicago, IL Adrian College, Adrian, MI (with catalogue) 2002 Watercolors, Quincy Art Center, Quincy, IL Fleisher/Ollman Gallery, Philadelphia, PA 2001 Jean Albano Gallery, Chicago, IL Tacoma Art Museum, Tacoma, WA 2000 Rosemont College, Rosemont, PA Jean Albano Gallery, Chicago, IL 1998 Jean Albano Gallery, Chicago, IL A -
Art Green Biography
Art Green Biography 1941 1978 Born: Frankfort, Indiana Art Green, Phyllis Kind Gallery, Chicago, February 4– Lives and works in Stratford, Ontario March Art Green, Arts Center Gallery, University of Waterloo, Ontario, February 8–March 4 EDUCATION 1961–1965 1979 School of the Art Institute of Chicago Art Green, Gallery Stratford, Ontario, March 16–April 8 Art Green, Bau-Xi Gallery, Toronto, April 28–May 17 Art Green, Phyllis Kind Gallery, New York, May–June TEACHING 1968–1969 1980 Kendall College, Evanston, Illinois Art Green, Phyllis Kind Gallery, Chicago, March 1969–1971 1981–1982 Nova Scotia College of Art and Design, Halifax Art Green, Phyllis Kind Gallery, Chicago, December 1981–January 1982 1975–1976 University of British Columbia, Vancouver 1983 Art Green, Phyllis Kind Gallery, Chicago, September– 1977–2006 October University of Waterloo, Ontario Art Green, Bau-Xi Gallery, Toronto, April 21–May 10 1986 SELECTED SOLO EXHIBITIONS Art Green, Phyllis Kind Gallery, Chicago, January– 1968 February Art Green, Art Gallery, Kendall College, Evanston, Illinois, October 1991 Doors of Perception, Cambridge Public Library and 1973 Gallery, Cambridge, Ontario, October 10–November Art Green, Owens Art Gallery, Mt. Alison University, 10 Sackville, New Brunswick, March 31–April 21 Art Green, Burnaby Art Gallery, Burnaby, British 1992 Columbia, October 3–28 Art Green: Conflicts and Resolutions, Gallery Stratford, Ontario, September 11–October 25; McLaren Art 1974 Gallery, Barrie, Ontario, September 17–October 31 Art Green, Phyllis Kind Gallery, Chicago, -
Gladys Nilsson Reviewed on Artnet News
Painter Gladys Nilsson Got Her Start as a Member of Chicago’s Hairy Who. Now, at 79, She’s Ready to Shine on Her Own Dual New York shows at Matthew Marks and Garth Greenan explore five decades of her wild, ecstatic paintings. BY CAROLINE GOLDSTEIN FEBRUARY 21, 2020 Plain Air, 2018, acrylic and paper collage on canvas, 40 x 60 inches Gladys Nilsson was beaming. On a recent afternoon the artist—a member of the Chicago group the Hairy Who, a once-fringe movement that’s increasingly beloved—was strolling through the galleries at Matthew Marks and Garth Greenan, admiring the precise curatorial choices in a much-anticipated fifty-year survey of her work. “It’s kind of thrilling really, to see them all in the same place” she told Artnet News, strolling through the dual exhibition, which also includes lesser-known aspects of her practice, like collages and early watercolors. Nilsson herself hasn’t seen many of the works in years, since they’ve been sold off to collectors or, in some cases, been languishing in storage. The Hairy Who collective formed after its members graduated from the Art Institute of Chicago—where Nilsson is now a professor—and included Jim Nutt (Nilsson’s husband), Jim Falconer, Art Green, Suellen Rocca, and Karl Wirsum. It formed out of necessity, when the artists realized there were few places to show their raucous work. With the help of Don Baum, the exhibitions director at the Hyde Park Art Center, the six recent graduates mounted just a handful of shows over a period of four years, but their success was immediate and has proven lasting. -
Branford Historical Society Manuscript Collection
BRANFORD HISTORICAL SOCIETY MANUSCRIPT COLLECTION RECORD GROUPS 1. FAMILY PAPERS 2. BUSINESS PAPERS 3. PUBLIC PAPERS 4. CLUBS & ORGANIZATIONS 5. MISCELLANEOUS The Branford Historical Society archive collection was originally stored at the Society’s museum, Harrison House, at 124 Main Street. When the Blackstone Memorial Library was renovated in 1994, a mutual agreement was reached for most of the archives to be housed at the library for better access and environmental conditions. Larger items and the Towner albums remain at the Harrison House (2017). The photograph and negative collection, cataloged separately from the archives, is also housed at the library. Previously to 1999, the library and historical society kept separate Branford history archive collections. It was decided at that time to add new material to the Branford Historical Society archives. Papers and photographs at the library that were never cataloged were also added to the society’s archives or photo collection. The Blackstone Library archives of Branford history material before 1999 was kept as a separate collection and was organized by Betty Linsley. Papers relating strictly to library business are kept separately from the historical society archives. Since the death of Betty Linsley in 1993, Jane Bouley has maintained the historical society collections. Branford Historical Society Archives Collection RECORD GROUP #1 FAMILY PAPERS REGINALD S. BALDWIN BAXTER-DEEVEY BEACH BEACH-DAVIS-BRAGG DAVID DUNCAN BEACH BLACKSTONE FAMILY BLACKSTONE LIBRARY BRADLEY-HOADLEY COREY JOHN CUNNINGHAM DIBBLE FOOTE FOOTE-PRANN-BRADLEY FOWLER FRISBIE FULLERTON-BOSTWICK GAYLORD ALICE POND GORDON GREGORY HAMMER ARCHIBALD HANNA HARRISON IVES-TAINTOR JOHNSON JOURDAN-LINSLEY JIM KELLY KELSEY Branford Historical Society Archives Collection RECORD GROUP #1 FAMILY PAPERS LANPHIER BETTY M. -
Upcoming Events Inside the Outside: All Events Are Free and Open to the Public
Upcoming Events Inside the Outside: All events are free and open to the public. Paintings by Richard Loving and Eleanor Spiess-Ferris Related events: 90th Birthday Party & Artist - Story Foraging: Looking at Exhibition Reception and Gallery 4 on-Artist Talk: Frank Piatek the works of Eleanor Spiess- Publication Release Party January 26 – May 4, 2014 and Richard Loving Ferris Sunday, January 26, 3-5 pm Sunday, March 2, 3-5 pm Sunday, April 13, 3-5 pm Longtime colleague of Loving Gavin Van Horn, Director of Copies of the Inside the Out - and Professor of Painting and Cultures of Conservation at side publication will be avail - Drawing at the School of the the Center for Humans & Na - able. Art Institute Frank Piatek will ture, leads a discussion with lead a public conversation curator of the exhibition Aaron with Loving and offer insights Ott and artist Eleanor Spiess- into his long and distinguished Ferris illuminating the multi- Cover: Left: Richard Loving, Fire and career. The event will also cel - faceted narrative imbedded in Smoke , 2008, oil on canvas, 62 x 50 inches; Right: Eleanor Spiess-Ferris, The ebrate Loving’s 90th birthday. the artist’s work. By embracing Chair, 2011, gouache, 22 x 22 inches the three divergent viewpoints of the panelists—philosopher, contemporary art curator, artists—this discussion will show how individual viewers activate and complete the work of Spiess-Ferris by telling our own stories. Each year, the Art Center unveils nearly twenty exhibitions, dedicating at least one show to working with an emerging Chicago curator whose work transgresses or questions traditional curatorial conventions. -
Philip Hanson Gridded Ether
Philip Hanson Gridded Ether November 9 - December 15, 2019 François Ghebaly is proud to announce Gridded Ether, Chicago-based painter Philip Hanson’s first solo exhibition in Los Angeles. Across fifteen shaped canvases, the exhibition delves into Hanson’s unique combination of poetry and painting. Each canvas contains the entirety of a poem, committed in luminous, layered verses across the surface and structured to incite a particular way of both reading and seeing the text. Poems by Emily Dickinson, William Blake, Walt Whitman and William Shakespeare make appearances. Hanson transforms the poems by visualizing their lines in startling and idiosyncratic arrangements that guide the reading eye in curlicue paths up, down, and across the surface of the painting. At times, letterforms gather their own weight and objecthood. Elsewhere, they adorn flowing banners, Grecian columns, and grand marquees. The pictorial space occupied by the poems’ texts equally recalls opera proscenia, store window displays, circus posters, and Piranesi etchings. Lodged across vibratory layers, the words achieve a nearly sonic visuality, whispered or howled as determined by their relative size and compositional placement. As the poet John Yau has noted, it is when Hanson “absorbs the poem’s diagrammatic possibilities into a pictorial possibility that he attains another level, and becomes in effect a visionary painter.”1 These works are the newest in a body of powerful text-based paintings that originated in the mid 1990s. Earlier in his career, Hanson was closely associated with the Chicago Imagists, exhibiting in groundbreaking exhibitions like The False Image at the Hyde Park Art Center in 1968 together with Christina Ramberg, Roger Brown, and Eleanor Dube.