DOCSLIB.ORG

Oral History Interview with John Kearney, 2009 Mar. 12-13

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oral History Interview with John Kearney, 2009 Mar. 12-13 Oral history interview with John Kearney, 2009 Mar. 12-13 Funding for this interview provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a digitally recorded interview with Judith O. Richards on March 12 and March 13, 2009. The interview took place at the artist's studio in Chicago, Illinois, and was conducted by Judith O. Richards for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by a grant from the Terra Foundation for American Art. John Kearney and Judith O. Richards have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JUDITH O. RICHARDS: This is Judith Richards interviewing John Kearney at 542 West Grant Place, Chicago, Illinois, on March 12, 2009, for the Archives of American Art, Smithsonian Institution, disc number one. LYNN KEARNEY [MRS. JOHN KEARNEY]: Can I just say one thing? It's pronounced "CARNEY." MS. RICHARDS: "CARNEY," sorry. John Kearney. So tell me about your family, your grandparents and your parents. JOHN KEARNEY: Okay. That's a wild one. I was born [in 1924] in Omaha, Nebraska, and my family lived in Iowa. They were farmers. There were a lot of Irish people that came over when they were starving, and they built up a whole bunch of them that lived there. And they were doing quite well. And my grandfather - I'm jumping on the thing now. When I was born there, the reason was my father, John Kearney, the first, had a sister in that place. MS. RICHARDS: In which place? MR. KEARNEY: Where we went to - MS. RICHARDS: Oh, in Omaha. MR. KEARNEY: In Omaha. She was a nurse. And so my mother was going to have me - MS. RICHARDS: What was her name? MR. KEARNEY: - was about to have me. And he took her there because we didn't have any money. And so I was born on the table in the middle of the house. MS. RICHARDS: What was your - that was your aunt. What was her name? Or your grandfather's sister. MR. KEARNEY: I don't remember the name of his sister. But anyway, they had an old Irish lady that helped women with children when they were born. And I was screaming my head off. And she said, "What was it you were thinking? What was this you were thinking about and eating?" How does that go? "What were you dreaming to eat while you were carrying the child?" And she said - what was that? MRS. KEARNEY: Olives? MR. KEARNEY: Olives. So she said, "Get the biggest olive you can get that the child can't choke on it, and put it in his mouth." And that shut me up. And I've always liked them. [Laughs.] Okay. Now, then they took me back to the farms in Iowa. MS. RICHARDS: Where in Iowa? MR. KEARNEY: Out in the country. MS. RICHARDS: Do you know near what city? MR. KEARNEY: I don't remember the names. I was just a baby, you know. But my grandfather, Walter Masters, had a father that was Masters, the same name, Walter Masters. And my middle name is John Walter, and that's where that came from. MS. RICHARDS: John Walter? MRS. KEARNEY: Walter, John Walter. MS. RICHARDS: John Walter. Mm-hmm. [Affirmative.] MR. KEARNEY: Now, I met my great-grandfather, and he had served in the Union Army. And he was wounded in the army, and he had a lead bullet right here in his hip. And I stayed with him for three days talking. I was six years old. No, I was seven, I think. And we talked and talked and talked. And so I said to him, "Great-grandpa, how did you get into the Union Army when you were so young?" He was teenaged, too. And he said, "Great- grandson, you come from a long line of abolitionists!" I said, "What's that?" He said, "We're against slavery!" So anyway, that's where we came from. So when my father took me back with my mother to that part of Iowa, their farms were right together. And everything was very well, very beautiful. But one day there was a storm, and my grandfather, who had three big sons, all my uncles, and they were all good horse workers, in the barns and so on. And a freak sail of ice came through the air and ruined his crop, just all over the place. And he went broke. And so all he needed to do was to sell 10 percent of his holdings, horses or machines and things, and all the other farmers came and bid. MRS. KEARNEY: Ten cents. MR. KEARNEY: Ten cents on the dollar, and they ruined him. So he had been trying to bring in this crop with all that, and he wrecked his lungs, his lungs. And so the doctors told him he had to go to high altitude to be all right. And so he moved to Albuquerque, New Mexico. And the whole family followed him, and they were all flat broke. They had nothing. MS. RICHARDS: The whole family is his grandfather and his four sons and your father, which was - MR. KEARNEY: My father, who was the Irish one. MS. RICHARDS: The Irish one. MR. KEARNEY: And his farm was lost, too. MS. RICHARDS: Whose farm was lost, too? MR. KEARNEY: The Kearney Family. MS. RICHARDS: Your father's. MR. KEARNEY: Yes, the Kearney Family. And so when they went there, I was just a little baby. But that's when I started remembering things. And everybody had a job. There in Albuquerque they raised horses - not horses, but cows and chickens and all other things that you would want to, like, a little farm there. And so I had a job taking care of these little - MRS. KEARNEY: Goats? MR. KEARNEY: Goats, yes. So goats became a big thing in my art. And they were my friends. MS. RICHARDS: Did you have brothers and sisters? MR. KEARNEY: Yes. I had one brother. MS. RICHARDS: Older or younger? MR. KEARNEY: He was five years older. And he had a different father. MRS. KEARNEY: He has a half-brother. MR. KEARNEY: My half-brother. And that man left my mother. MS. RICHARDS: So you grew up with your half-brother. MR. KEARNEY: I grew up with him, yes. MS. RICHARDS: And what is his name - what was his name? MRS. KEARNEY: Gilbert - Gil - Thompson. MS. RICHARDS: Gilbert? MRS. KEARNEY: Gilbert Thompson. MR. KEARNEY: Gilbert Thompson, yes. I did freeze on that. MS. RICHARDS: Thompson, T - MRS. KEARNEY: T-H-O-M-P-S-O-N. MS. RICHARDS: Okay. MR. KEARNEY: Yes. So anyway, we were there in poverty, and I went to the school there. But almost all of the schools that I was with was - were Mexicans and Indians. And my grandfather tried to get back in some with money by selling sewing machines, Singer sewing machines. But he sold them to them, and they paid for it each month. But they didn't like that. So they never paid for them. [Laughs.] So he went broke again. And so we had to do something. And my mother was getting whatever little jobs she could get. All my uncles would get jobs. They'd put all in with Grandmother, and she fed all of us, you know. Then again - go ahead. MS. RICHARDS: Were any of your three uncles married? MR. KEARNEY: No, not then. MS. RICHARDS: So they were living - MRS. KEARNEY: Not then. MS. RICHARDS: Oh, not then. MR. KEARNEY: Not then, no. They were young. They were teenagers. Anyway - MRS. KEARNEY: The Depression. MR. KEARNEY: When I was working with my little animals, I could sort of talk to them. And I had a little rope on them, and I'd put them on a little stake. And we had a - where the water went by in Albuquerque, it was only about four or five feet wide. And so I would go and get things for my other pets there, and they would pull out their plugs and run away. But they wouldn't run very far. They'd run maybe 50 feet or something like that. And then they'd lay down, and I'd try to pull them like this. And so I got some ideas on how to handle them. [Laughs.] Let's see, how did I do that now? I know, I tried to - MRS. KEARNEY: [Inaudible] Your mother married, remarried. MR. KEARNEY: Yes. MRS. KEARNEY: That's the way you should go from here. MR. KEARNEY: Okay. Let's go to that. My mother remarried - MS. RICHARDS: When you were about what age? MR. KEARNEY: - architectural man, but he never practiced that. MS. RICHARDS: About how old were you when your mother remarried? MR. KEARNEY: She remarried when I was about four. Was it older? Yes, maybe it was seven or eight. MRS. KEARNEY: In Albuquerque. MR. KEARNEY: In Albuquerque. And then we started to move back into the real world. MS. RICHARDS: You moved away from the farm. MR. KEARNEY: Away from the farm and so on.
Load more

Recommended publications
  • Blueprintsvolume XXVII, No
    blueprintsVolume XXVII, No. 1–2 NATIONAL BUILDING MUSEUM In Between: The Other Pieces of the Green Puzzle in this issue: HEALTHY Communities, GREEN Communities Word s ,Word s ,Word s Winter & Spring 2008/2009 The Lay of the Landscape Annual Report 2008 in this issue... 2 8 13 18 19 21 23 In Between: The Other Pieces of the Green Puzzle The exhibition Green Community calls attention to important aspects of sustainable design and planning that are sometimes overshadowed by eye-catching works of architecture. The environmental implications of transportation systems, public services, recreational spaces, and other elements of infrastructure must be carefully considered in order to create responsible and livable communities. This issue of Blueprints focuses on the broad environmental imperative from the standpoints of public health, urban and town planning, and landscape architecture. Contents Healthy Communities, ! 2 Green Communities M Cardboard Reinvented Physician Howard Frumkin, of the Centers for Disease Cardboard: one person’s trash is another Control and Prevention, brings his diverse expertise as B an internist, an environmental and occupational health N person’s decorative sculpture, pen and pencil expert, and an epidemiologist to bear on the public health holder, vase, bowl, photo and business card holder, above: Beaverton Round, in suburban Portland, Oregon, was built as part of the metropolitan area’s Transit-Oriented Development Program. implications of community design and planning. p Photo courtesy of the American Planning Association and Portland Metro. stress toy, or whatever you can imagine. Bring out your o Creating Sustainable Landscapes creativity with these durable, versatile, eco-friendly LIQUID h CARDBOARD vases that can be transformed into a myriad from the executive director 8 In an interview, landscape architect Len Hopper discusses s his profession’s inherent commitment to sustainability and of shapes for a variety of uses in your home.
    [Show full text]
  • Vincent Scully Masterclass Series Returns—Virtually—To the Chicago Architecture Center with “See Like an Architect”
    Vincent Scully Masterclass Series returns—virtually—to the Chicago Architecture Center with “See Like an Architect” Registration now open for the second Scully Series, hosted by noted scholar and IIT College of Architecture dean Reed Kroloff and guests For immediate release January 26, 2021 High-resolution images with captions and credits downloadable here Media contact Zachary Whittenburg, Director of Communications, Chicago Architecture Center [email protected], 312-322-1134 CHICAGO – The Chicago Architecture Center (CAC) continues to offer online and remotely accessible programs for audiences of all ages, initiated in April 2020 with participants joining from across Chicago, the United States and overseas. Located at 111 East Wacker Drive in downtown Chicago, the Center remains temporarily closed to visitors. Chicago Architecture Foundation Center River Cruises aboard Chicago’s First Lady, CAC walking tours, admission to the Center itself and other in-person activities will resume in 2021 on dates to be announced. The CAC Design Store remains open 24 hours online at shop.architecture.org. 2021 Vincent Scully Masterclass Series: See Like an Architect Series pass $50, CAC members $40, students and seniors $30 Individual masterclasses $20 each, CAC members $15, students and seniors $10 Following up the inaugural three-part Vincent Scully Masterclass Series, “The Brilliance of American Architecture,” offered by the CAC in spring 2019, “See Like an Architect” examines timeless fundamentals in conceiving and communicating architecture. Three masterful, entertaining explorations of an architecture-informed worldview continue this series inspired by legendary professor, critic and author Vincent Joseph Scully, Jr. (1920−2017), who made his mark through more than 60 years of leading lectures at Yale University, inspiring countless students to pursue a wide variety of career paths.
    [Show full text]
  • "The Architecture of Community" by Vincent Scully Twenty-Fourth
    "The Architecture of Community" by Vincent Scully Twenty-fourth Annual Jefferson Lecture in the Humanities National Endowment for the Humanities Washington, D.C. May 15, 1995 IMPORTANT NOTE: For private use only. The text may not be reprinted without written permission from the author, Vincent Scully, and the National Endowment for the Humanities. For further information: NEH, Office of Publications and Public Affairs 1100 Pennsylvania Avenue, N.W., Room 402 Washington, D.C. 20506 Telephone: 202/606-8400 THE 24TH JEFFERSON LECTURE IN THE HUMANITIES May 15, 1995 The Architecture of Community by Vincent Scully Sterling Professor of Art History Emeritus, Yale University Thank you very much. Senator Dodd, I don’t know how I can thank you for that introduction, which is probably the best I’ve ever had. I shouldn’t be surprised, I suppose, since it came from a senator of the United States. I am touched. Also, ladies and gentlemen, I’m upset that you applaud me as I rise, since I fear that you won’t when I subside. However, if we can get past that, I have to say that this is something for which I feel more honored than anything that’s happened in my life. I am also more daunted. It’s the biggest audience, it’s the most distinguished audience, as I can see just by a rapid glance around, and it’s in the nation’s capital. Also, this is in fact a very inopportune time for me to try to give a lecture like this, because I’ve spent the last five months in Los Angeles, and now I haven’t the slightest idea what I think about anything.
    [Show full text]
  • Remarks at a Presidential Luncheon in Little Rock November 18, 2004
    2836 Nov. 18 / Administration of George W. Bush, 2004 of story that inspires people from every back- in our future. And Americans continued to ground, all over America. In this great Na- like the man that he so clearly liked. tion, it is always possible for a child to go One man’s journey from Hope, Arkansas, as far as their talent and vision can take them. to the White House, the story told in this Visitors to this place will be reminded of the library, is an American story. It’s a story of great promise of our country, and the dreams talent recognized early and lifelong friend- that came true in the life of our 42d Presi- ships and hard work that was rewarded. The dent. The William J. Clinton Presidential Li- boy who shook the hand of John F. Kennedy brary is a gift to the future by a man who in the Rose Garden has shaken the hands always believed in the future. And today we of many young people and inspired them thank him for loving and serving America. with his idealism. And this library will carry God bless. that message into the future. Americans look to our former Presidents NOTE: The President spoke at 12:20 p.m. In his as elder statesmen. In the case of President remarks, he referred to Gov. Mike Huckabee of Clinton, the elder statesman is about one Arkansas and his wife, Janet. month younger than I am. [Laughter] His public service came early, and his service to America has not ended.
    [Show full text]
  • 7350 NBM Blueprnts/REV
    National Building Museum Annual Report 2005 Detail of the terra cotta frieze by sculptor Caspar Buberl, which surrounds the full, 1,200-foot-long perimeter of the National Building Museum. Photo: © Maxwell MacKenzie MESSAGE FROM THE CHAIR AND THE EXECUTIVE DIRECTOR year. Contributed income remained the most important component of the institution’s revenue, amounting to over $4.5 million, reflecting a 17 percent increase over 2004. The popular and well-regarded Museum Shop continued to do well financially, bring- RCHITECTURE IS THE UNIVERSAL ART, ing in more than $1 million in revenue. and construction the universal craft. As this exciting and successful AVirtually all of humankind ultimately fiscal year at the Museum was drawing to shares in the creation of the built environ- a close, we were shocked and saddened to ment in some way, whether by fabricating learn of the devastation wreaked by a rudimentary shelter or by developing a Hurricanes Katrina and Rita on the Gulf commercial office complex. The National Coast. Like the terrorist attacks of Building Museum, then, is arguably the September 2001, these natural disasters universal museum, dedicated to promoting served as tragic reminders of the deep a better understanding of the physical emotional resonance with which buildings world that we create for ourselves, in all of and communities are often imbued. In the its aspects. aftermath of the hurricanes, the Museum Carolyn Schwenker Brody Toward that end, the Museum began organizing an ongoing series of pub- Chair pursues a rigorous schedule of exhibitions, lic programs to address the impact of the Photo by Diana Walker education programs, and publications that disasters on the built environment.
    [Show full text]
  • Architectsnewspaper 20 4.2005
    ARCHITECTSNEWSPAPER 20 4.2005 NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95 for Architecture (CCA) in Montreal. PARKS DEPARTMENT KICKS OFF The announcement closely follows the 10-11 DESIGN EXCELLENCE PROGRAM November ceremony for the sixth recipient, the Prince of Wales, who was selected earlier WANTED: this year for the prize but was unable to PARKS GET BOOST CURATORS receive it until his recent U.S. tour. The New York City Department of Parks AN EXAMINATION OF THAT RARE BREED- In addition to her CCA duties, Lambert, and Recreation (DPR) will be u.sing more THE ARCHITECTURE AND DESIGN CURATOR once referred to by Canadian Interiors mag• and more outside designers from now on: azine as "our undisputed grand doyenne On November 21, it released a list of eight CO 06 of architecture," is an accomplished author, landscape architectural firms that were I— a leading advocate for low-income housing granted the Requirements Contract for LU MTA, READY and neighborhood revitalization, and a Landscape Architecture Consulting Ser• trained architect who designed Montreal's vices. In October, the DPR released a simi• TO ROLL Saidye Bronfman Centre and led the reno• lar list of six firms that were awarded the O O vation of Los Angeles' Biltmore Hotel. Requirements Contract for Archi-tectural 12 "Lambert has gotten people to consider Consulting Services. The pre-selected GIFT GUIDE the built environment through the CCA, firms have been offered two-year renew• her writing, and her practice," said architect able contracts, guaranteeing millions of 17 David Schwarz, who chairs the Scully Prize dollars of work.
    [Show full text]
  • Jaime Y. Pestano
    Schedule 4 to the Minutes of the Development Permit Panel meeting held on Wednesday, May 29, 2019. JAIME Y. PESTANO 205-7388 Gollner Ave., Richmond, BC V6Y OH4, Tel. No. 604-241-1271, Email: [email protected] To Development Permit Panel May 28,2019 MAY 2q . 21Jiq Director, City Clerk's Office 6911 No. 3 Road, Richmond, BC VGY 2C1 Subject: Notice of Application for Development Permit DP 17-768248 In compliance with you request, may I submit my recommendation to include and construct a highly profitable multi-purpose arena for professional ice hockey, basketball, boxing, concerts, ice shows, musical shows, cultural shows, trade shows, conventions, circuses, and other sports and entertainment events like Madison Square Garden, New York, USA, and make Richmond Centre in Richmond City, BC a world class destination. Thank you very much for this opportunity to present my thoughts and ideas that I think will greatly benefit the residents and City of Richmond as well as the whole province of British Columbia and Canada. Your reply and comments will be greatly appreciated. Respectfully yours, ~~~7~ Jaime Y. PeSfarf'rP 5/21/2019 Mercedes-Benz Arena in Berlin, Germany Stock Photo: 103395289 - Ala my https://www.alamy.com/stock-photo-mercedes-benz-arena-in-berlin-germany-1 03395289.html?pv= 1&stamp=2&imageid=13F3A553-0054-4E5E-8E06-98911250B3CF&p= 190161 &n=O&orientation=O&p... 2/2 5/15/2019 Sports And Event Areba 02 World Mirrowing In A Puddle Stock Photo: 117665375- Ala my ala my taken: 3·1 ,July 2014 https://www.alamy.com/stock-photo-sports-and-event-areba-o2-world-mirrowing-in-a-puddle-117665375.html?pv=1 &stamp=2&imageid=AAOC1 E3E-C29D-4C81-94A4-5CE4BOBCCDBA&p=3.52712&n=1 .
    [Show full text]
  • The Architecture of Jewish Student Centers on American University Campuses
    arts Article Situational Ecumenism: The Architecture of Jewish Student Centers on American University Campuses Jeremy Kargon School of Architecture & Planning, Morgan State University, Baltimore, MD 21251, USA; [email protected] Received: 28 June 2019; Accepted: 18 August 2019; Published: 23 August 2019 Abstract: Since the start of the 20th century, the presence of Jewish students on American university campuses required accommodation of their religious practices. Jewish activities, including prayer, took place in existing campus buildings designed for other purposes. Eventually, at some universities, facilities were built to serve Jewish religious and social needs. These Jewish Student Centers, which include worship spaces yet are typologically different from synagogues, generally have to accommodate the diverse religious streams that characterize Jewish life in the United States. To do so, both architects and Jewish organizations have adapted the idea of ecumenism, by which related sects seek unity through fellowship and dialogue, not doctrinal agreement. Three examples—at Yale, Duke University, and the University of California San Diego—demonstrate differently the situational ecumenism at the core of their designs. These buildings, and other Jewish Student Centers elsewhere, make visible the intersection between American collegiate and Jewish religious values, variously defined. Keywords: Jews; architecture; college; university; student center 1. Introduction As universities in the United States sought to bolster their research mission in the late 19th century, schools founded by religious sects shifted their undergraduate emphasis towards secular education (Geiger 2015; Veysey 1970). Doing so attracted students from backgrounds that reflected the changing demographics of an immigrant society. Universities such as Harvard and Yale—established in colonial times to educate ministers for Congregationalist New England—now had to educate Catholics, Baptists, and Jews seeking to enter academic and professional ranks (Coe and Davidson 2001, p.
    [Show full text]
  • Yale College Programs of Study 2Oo6–2Oo7
    ale university 2oo7 – all and Spring Terms 2oo6 bulletin of y Series 102 Number 7 August 1, 2oo6 F Programs of Study Yale College Yale bulletin of yale university August 1, 2oo6 Yale College Programs of Study bulletin of yale university Periodicals postage paid New Haven, Connecticut o652o-8227 New Haven, Connecticut Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abili- Postmaster: Send address changes to Bulletin of Yale University, ties and affirmatively seeks to attract to its faculty, staff, and student body PO Box 208227, New Haven ct 06520-8227 qualified persons of diverse backgrounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in PO Box 208230, New Haven ct 06520-8230 admissions, educational programs, or employment against any individual on Periodicals postage paid at New Haven, Connecticut account of that individual’s sex, race, color, religion, age, disability, status as a special disabled veteran, veteran of the Vietnam era, or other covered veteran, Issued seventeen times a year: one time a year in May, November, and or national or ethnic origin; nor does Yale discriminate on the basis of sexual December; two times a year in June; three times a year in July and orientation. September; six times a year in August University policy is committed to affirmative action under law in employ- ment of women, minority group members, individuals with disabilities, special Managing Editor: Linda Koch Lorimer disabled veterans, veterans of the Vietnam era, and other covered veterans.
    [Show full text]
  • L'affaire Learning from Las Vegas
    Université Paris I – Panthéon-Sorbonne Ecole doctorale d’histoire de l’art – UFR03 Thèse de doctorat Discipline : Histoire de l’architecture contemporaine Présentée par Valéry Didelon L’affaire Learning from Las Vegas Productions et réceptions (1968-1988) Sous la direction de Mme Dominique Rouillard Professeure à l’Ecole nationale supérieure d’architecture de Paris-Malaquais Directrice d’études à l’Université Paris I Panthéon Sorbonne Soutenance Le 6 mars 2010 Jury Mr Claude Loupiac Mr Stanislaus von Moos Mme Dominique Rouillard Mr Georges Teyssot Remerciements à Dominique Rouillard, pour m’avoir amicalement accueilli en thèse et pour les précieux conseils qu’elle m’a prodigués tout au long de ces huit années. à Stanislaus von Moos, pour l’intérêt qu’il a d’emblée manifesté pour mon travail et pour ses encouragements répétés. à Claude Loupiac et Georges Teyssot, pour avoir accepté de juger ce travail. à Luc Boltanski, pour m’avoir donné le gout de la recherche et pour ses conseils avisés. à Pierre Chabard, pour avoir partagé réflexions et hypothèses avec moi depuis des années. à Marilena Kourniati, pour l’acuité de ses commentaires renouvelés sur mon travail. à Françoise Fromonot, pour m’avoir transmis le gout de l’écriture et de la critique. à Luc Baboulet, François Béguin, Emmanuel Caille, Alain Guiheux, Ghislain His, Sébastien Marot, Jean Taricat, Clément Orillard et à tous ceux qui ont à un moment où un autre au cours des dernières années stimulé ma curiosité. à mes parents et à ma soeur, pour leur soutien indéfectible. à mon épouse Jenny, pour sa patience, son enthousiasme et son aide sans lesquels je n’aurai pu mener à bien ce travail.
    [Show full text]
  • Industry Advisory Group
    INDUSTRY ADVISORY GROUP APRIL 19, 2013 AGENDA AGENDA agenda 11:00 - 11:20 AM OPENING REMARKS Lydia Muniz OBO DIRECTOR 11:20 - 11:30 AM IAG ADDRESS Patrick F. Kennedy UNDER SECRETARY FOR MANAGEMENT 11:30 AM - 12:00 pM KEYNOTE SPEAKER Majora Carter URBAN REVITALIZATION STRATEGIST Home(Town) Security Majora Carter is an internationally renowned urban revitalization strategy consultant, real estate developer, and Peabody Award winning broadcaster. She is responsible for the creation & successful implementation of numerous green-infrastructure projects, policies, and job training & placement systems. After establishing several local and national organizations to carry on that work, she built on this foundation with innovative ventures and insights into urban economic developments designed to help move Americans out of poverty. Her long list of awards and honorary degrees include accolades from groups as diverse as Rupert Murdoch’s News Corporation, John Podesta’s Center for American Progress, Goldman Sachs, as well as a Macarthur “genius” Fellowship. Her 2006 Ted talk was one of the first 6 videos to launch their groundbreaking website. Majora embodies the American Dream. She has continually set new standards of excellence with projects in her South Bronx community, while expanding her reach nationally and internationally. Her philanthropic pursuits and business interests have all pointed toward greater self-esteem and economic potential for low-income people everywhere. 12:00 - 1:00 PM OBO PROGRAM PRESENTATION INDUSTRY ADVISORY GROUP | APRIL
    [Show full text]
  • Art & Architecture 2012
    Art & Architecture 2012 press.princeton.edu CONTENTS 2 The A. W. Mellon Lectures in the Fine Arts 3 Architecture 4 POINT 5 Visual Culture 8 Essays in the Arts 8 American 10 Museum Studies 11 Photography 12 Modern 13 Renaissance & Baroque 14 Medieval 14 Ancient & Islamic 16 The Institute for the Study of the Ancient World at New York University 17 British 18 French 19 Asian 20 National Gallery of Art, Systematic Catlogues 22 Department of Art & Archaeology, Princeton University 24 The Robert Lehman Collection at the Metropolitan Museum of Art 25 Index/Order Form Cover image is courtesy of and copyright © Richard Hamilton, 1 3 Swingeing London 67—poster, 1968. Offset lithograph, 27 ⁄2 x 19 ⁄4. “The First Pop Age is a remarkable book: it offers a series of trenchant models for under- standing how five key Pop artists remade the modern picture and, in doing so, took on some of the most crucial issues of our time—mass media, consumer culture, trauma, and selfhood—as well as the possibilities of painting itself.” —Leah Dickerman, Museum of Modern Art “Pursuing brilliant close readings of art with a light theoretical touch, Foster shows how five artists at once relished and questioned the fundamental changes in ourselves and our images that defined the 1950s and 1960s. No one has thought Pop better.” —Harry Cooper, National Gallery of Art new The First Pop Age Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha Hal Foster Who branded painting in the Pop age more brazenly than Richard Hamilton, Roy Lichtenstein, Andy Warhol, Gerhard Richter, and Ed Ruscha? And who probed the Pop revolution in image and identity more intensely than they? In The First Pop Age, leading critic and historian Hal Foster presents an exciting new interpretation of Pop art through the work of these Pop Five.
    [Show full text]