Abbey, Cherie D., Ed. Profiles of People of Interest
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Southeast Museum of Photography Preservation Assessment Project
PG-266669-19 Southeast Museum of Photography Preservation Assessment Project A. What activity or activities would the grant support? Support will fund three primary activities for the Southeast Museum of Photography Preservation Assessment Project: • A formal assessment of the photographs and photographic objects from the museum’s 4,500 piece collection, by a professional conservator of photographs. • In consultation with a professional conservator of photographs, the creation of a long-term preservation strategy for existing materials and future accessions. • In consultation with a professional conservator of photographs, the creation of a list of appropriate archival collections materials to reinforce existing collection materials and to support the care of future acquisitions. Through these activities, the Southeast Museum of Photography (SMP) aims to become better stewards of its cultural artifacts, ensuring the photographs and photographic materials in the museum’s care can be preserved and maintained in accordance with the highest of collections standards for future generations of researchers, educators, and museum visitors. B. What are the content and size of the humanities collections that are the focus of the project? The Museum houses 4,500 photographs dating from the mid-19th century to the present, 1,500 objects representing photographic processes such as photo transfer screen prints, photogravure prints, glass lantern slides, and 372 vintage or antique cameras. The photographic collection of SMP includes representatives from every major photographic process and the developments within those processes, including: tintypes, daguerreotypes, albumen prints, cyanotypes, gelatin silver prints, and C-prints. Highlights of the collection include: • Vintage and authorized edition prints from modern photography masters including: o Edward Weston: one of the foremost champions of highly detailed photographic images and the first American to receive a Guggenheim Fellowship. -
Oral History Interview with Edith Wyle, 1993 March 9-September 7
Oral history interview with Edith Wyle, 1993 March 9-September 7 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 Interview EW: EDITH WYLE SE: SHARON EMANUELLI SE: This is an interview for the Archives of American Art, the Smithsonian Institution. The interview is with Edith R. Wyle, on March 9th, Tuesday, 1993, at Mrs. Wyle's home in the Brentwood area of Los Angeles. The interviewer is Sharon K. Emanuelli. This is Tape 1, Side A. Okay, Edith, we're going to start talking about your early family background. EW: Okay. SE: What's your birth date and place of birth? EW: Place of birth, San Francisco. Birth date, are you ready for this? April 21st, 1918-though next to Beatrice [Wood-Ed.] that doesn't seem so old. SE: No, she's having her 100th birthday, isn't she? EW: Right. SE: Tell me about your grandparents. I guess it's your maternal grandparents that are especially interesting? EW: No, they all were. I mean, if you'd call that interesting. They were all anarchists. They came from Russia. SE: Together? All together? EW: No, but they knew each other. There was a group of Russians-Lithuanians and Russians-who were all revolutionaries that came over here from Russia, and they considered themselves intellectuals and they really were self-educated, but they were very learned. -
Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Statement on the Death of Representative Julian C. Dixon The
Administration of William J. Clinton, 2000 / Dec. 9 So I’m going to try to be a good citizen, good years, but if we build on it instead of and I’m going to try to help work on the things reverse it, it’s just going to get better. that I worked on as President as a private citizen But keep in mind, I will say again: It’s more but to do it in a way that doesn’t get under important that the people be pushing toward foot of the next President. And I have loved tomorrow than who has a particular office. As doing this. But the most important thing is that long as we’re open to the proposition we have people like you stay active in our party and to keep working; and we have to keep working keep pushing us to be thinking about tomorrow. together; everybody counts; everybody deserves Just keep pushing us toward the future, keep a chance; we all do better when we work to- moving, and keep reaching out like a magnet. gether. That’s what the Democrats believe, and And again, I would like to thank Ben. I would if we keep doing it, we’re going to be just fine. like to thank Bob Kerrey for the 8 years that Thank you, and God bless you. we have worked together, President and Sen- ator, and the many years of friendship before that. I want to thank Peter Hoagland, who came down from Washington with us today, for the NOTE: The President spoke at 3:38 p.m. -
Calder and Sound
Gryphon Rue Rower-Upjohn Calderand Sound Herbert Matter, Alexander Calder, Tentacles (cf. Works section, fig. 50), 1947 “Noise is another whole dimension.” Alexander Calder 1 A mobile carves its habitat. Alternately seductive, stealthy, ostentatious, it dilates and retracts, eternally redefining space. A noise-mobile produces harmonic wakes – metallic collisions punctuating visual rhythms. 2 For Alexander Calder, silence is not merely the absence of sound – silence gen- erates anticipation, a bedrock feature of musical experience. The cessation of sound suggests the outline of a melody. 3 A new narrative of Calder’s relationship to sound is essential to a rigorous portrayal and a greater comprehension of his genius. In the scope of Calder’s immense œuvre (thousands of sculptures, more than 22,000 documented works in all media), I have identified nearly four dozen intentionally sound-producing mobiles. 4 Calder’s first employment of sound can be traced to the late 1920s with Cirque Calder (1926–31), an event rife with extemporised noises, bells, harmonicas and cymbals. 5 His incorporation of gongs into his sculpture followed, beginning in the early 1930s and continuing through the mid-1970s. Nowadays preservation and monetary value mandate that exhibitions of Calder’s work be in static, controlled environments. Without a histor- ical imagination, it is easy to disregard the sound component as a mere appendage to the striking visual mien of mobiles. As an additional obstacle, our contemporary consciousness is clogged with bric-a-brac associations, such as wind chimes and baby crib bibelots. As if sequestered from this trail of mainstream bastardi- sations, the element of sound in certain works remains ulterior. -
Download the Contributor's Manual
Oxford University Press Hutchins Center for African &African American Research at Harvard University CONTRIBUTOR’S MANUAL African American National Biography Henry Louis Gates, Jr. Evelyn Brooks Higginbotham Editors in Chief http://hutchinscenter.fas.harvard.edu/aanb CONTENTS 1 INTRODUCTION 2 PLANNING YOUR ARTICLE 2.1 Readership 2.2 Scope Description 2.3 Word Allotment 2.4 Consensus of Interpretation 3 WRITING YOUR ARTICLE 3.1 Opening Paragraph 3.2 Body of Text 3.3 Marriages 3.4 Death and Summation 3.5 Living People 3.6 Identifying People, Places and Things 3.7 Dates 3.8 Quotations and Permissions 3.9 Citations 3.10 Plagiarism 4 SOME NOTES ON STYLE 4.1 Style, Grammar, spelling 4.2 Spelling 4.3 Punctuation 4.4 Capitalization 4.5 Dates 4.6 Racial Terminology 4.7 Explicit Racial Identification 4.8 Gendered Terms 5 COMPILING YOUR “FURTHER READING” BIBLIOGRAPHY 5.1 Purpose 5.2 Number of Items 5.3 Availability of Works 5.4 Format 5.5 Verification of Sources 6 KEYBOARDING AND SUBMITTING YOUR MANUSCRIPT 1 1 INTRODUCTION We very much appreciate your willingness to contribute to the African American National Biography (AANB). More than a decade in the making, the AANB is now in its second edition, bringing the total number of lives profiled to nearly 5,000 entries online and in print. Our approximately 2,000 authors include Darlene Clark Hine on First Lady Barack Obama, John Swed on Miles Davis; Thomas Holt on W.E.B. Du Bois and the late John Hope Franklin on the pioneering black historian George Washington Williams. -
Art Masterpiece: “Checkered House in Winter” By: Grandma Moses
Art Masterpiece: “Checkered House in Winter” By: Grandma Moses Artist: Grandma Moses (1860-1961) Keywords: Scene, Foreground, Background, Folk Art Grade: 1st Concept: Group Mural Project Lesson Activity: Create a snowy village scene using crayons and cotton balls Meet The Artist: Anna Mary Robertson (Grandma Moses) was the third child born into the Robertson family in 1860. Her parents were farmers and money was scarce. When Anna was 12 she became a “hired girl” to help another family. When it was cold in the winter little girls did not attend school very often, but when she was working as a hired girl she was allowed to attend school with her employer's children where she learned to read and write. She was a very hard worker and enjoyed the opportunity to go to school. When she was in her 20's she married Thomas Salmon Moses who was also a hired worker. The couple moved to Virginia where they rented farms and worked the land. They had five children and eventually returned to New York state and bought a farm. At this time she was called Mother Moses. She could do many things and enjoyed needlework such as sewing and embroidering and would make pictures on the fabric with her needle & thread. She slowly developed arthritis and as she got older it became more difficult to push the needle through the fabric. When she was in her late seventies she decided to take up painting which was easier on her hands. Her first painting was made using housepaint! She painted simple picture scenes of family, farm life, and community extolling the virtues of honesty and hard work which made America great. -
("DSCC") Files This Complaint Seeking an Immediate Investigation by the 7
COMPLAINT BEFORE THE FEDERAL ELECTION CBHMISSIOAl INTRODUCTXON - 1 The Democratic Senatorial Campaign Committee ("DSCC") 7-_. J _j. c files this complaint seeking an immediate investigation by the 7 c; a > Federal Election Commission into the illegal spending A* practices of the National Republican Senatorial Campaign Committee (WRSCIt). As the public record shows, and an investigation will confirm, the NRSC and a series of ostensibly nonprofit, nonpartisan groups have undertaken a significant and sustained effort to funnel "soft money101 into federal elections in violation of the Federal Election Campaign Act of 1971, as amended or "the Act"), 2 U.S.C. 5s 431 et seq., and the Federal Election Commission (peFECt)Regulations, 11 C.F.R. 85 100.1 & sea. 'The term "aoft money" as ueed in this Complaint means funds,that would not be lawful for use in connection with any federal election (e.g., corporate or labor organization treasury funds, contributions in excess of the relevant contribution limit for federal elections). THE FACTS IN TBIS CABE On November 24, 1992, the state of Georgia held a unique runoff election for the office of United States Senator. Georgia law provided for a runoff if no candidate in the regularly scheduled November 3 general election received in excess of 50 percent of the vote. The 1992 runoff in Georg a was a hotly contested race between the Democratic incumbent Wyche Fowler, and his Republican opponent, Paul Coverdell. The Republicans presented this election as a %ust-win81 election. Exhibit 1. The Republicans were so intent on victory that Senator Dole announced he was willing to give up his seat on the Senate Agriculture Committee for Coverdell, if necessary. -
Paintings by John W. Alexander ; Sculpture by Chester Beach
SPECIAL EXHIBITIONS THE ART INSTITUTE OF CHICAGO, DECEMBER 12 1916 TO JANUARY 2, 1917 PAINTINGS BY JOHN W. ALEXANDER SCULPTURE BY CHESTER BEACH PAINTINGS BY CALIFORNIA ARTISTS PAINTINGS BY WILSON IRVINE PAINTINGS BY EDWARD W. REDFIELD PAINTINGS, DRAWINGS AND SKETCHES BY MAURICE STERNE 0 SPECIAL EXHIBITIONS OF WORK BY THE FOLLOWING ARTISTS PAINTINGS BY JOHN W. ALEXANDER SCULPTURE BY CHESTER BEACH PAINTINGS BY CALIFORNIA ARTISTS PAINTINGS BY WILSON IRVINE PAINTINGS BY EDWARD W. REDFIELD PAINTINGS, DRAWINGS AND SKETCHES BY MAURICE STERNE THE ART INSTITUTE OF CHICAGO DEC. 12, 1916 TO JAN. 2, 1917 PAINTINGS BY JOHN WHITE ALEXANDER OHN vV. ALEXANDER. Born, Pittsburgh, J Pennsylvania, 1856. Died, New York, May 31, 1915. Studied at the Royal Academy, Munich, and with Frank Duveneck. Societaire of Societe Nationale des Beaux Arts, Paris; Member of the International Society of Sculptors, Painters and Gravers, London; Societe Nouvelle, Paris ; Societaire of the Royal Society of Fine Arts, Brussels; President of the National Academy of Design, New York; President of the Natiomrl Academy Association; President of the National Society of Mural Painters, New York; Ex- President of the National Institute of Arts and Letters, New York; American Academy of Arts and Letters; Vice-President of the National Fine Arts Federation, Washington, D. C.; Member of the Architectural League, Fine Arts Federation and Fine Arts Society, New York; Honorary Member of the Secession Society, Munich, and of the Secession Society, Vienna; Hon- orary Member of the Royal Society of British Artists, of the American Institute of Architects and of the New York Society of Illustrators; President of the School Art League, New York; Trustee of the New York Public Library; Ex-President of the MacDowell Club, New York; Trustee of the Metropolitan Museum of Art; Trustee of the American Academy in Rome; Chevalier of the Legion of Honor, France; Honorary Degree of Master of Arts, Princeton University, 1892, and of Doctor of Literature, Princeton, 1909. -
Milch Galleries
THE MILCH GALLERIES YORK THE MILCH GALLERIES IMPORTANT WORKS IN PAINTINGS AND SCULPTURE BY LEADING AMERICAN ARTISTS 108 WEST 57TH STREET NEW YORK CITY Edition limited to One Thousand copies This copy is No 1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET FOREWORD This little booklet, similar in character to the one we pub lished last year, deals with another group of painters and sculp tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and sculptures of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members. -
RECENT ACQUISITIONS Dear Friends and Collectors
WALLY FINDLAY GALLERIES RECENT ACQUISITIONS Dear Friends and Collectors, Wally Findlay Galleries is pleased to present our most recent e-catalogue, Recent Acquisitions, featuring the newest additions to our collection. The catalogue features works by Aizpiri, Berthelsen, Brasilier, Cahoon, Calder, Cassignieul, Chagall, D’Espagnat, Jean Dufy, Gen Paul, Hambourg, Hervé, Indiana, Kluge, Leger, Le Pho, Miró, Outin, Sébire, Sipp-Green, Simbari, Simkohvitch, and Vu Cao Dam. For further information in regards to these works and the current collection, please contact the New York gallery. We look forward to hearing from you. WALLY FINDLAY GALLERIES 124 East 57th Street, New York, NY (212) 421 5390 [email protected] Aïzpiri Paul Aïzpiri (b. 1919) was born in Paris on May 14, 1919. Aïzpiri entered l’École Bulle to learn antique restoration, after his father insisted that he first learn a trade as a means of assuring his livelihood. After the course he entered the Beaux-Arts to study painting. Aïzpiri was certainly encouraged as a young painter in his early 20’s, during somber war-torn France, exhibiting amongst the painters of l’École Pont-Aven and the Nabis. He became a member of the Salon d’Automne in 1945, won Third Prize at the Salon de Moins de Trente Ans, of which he was a founding member and later showed at the Salon “Les Peintres Témoin de leur Temps”. In 1948, Aïzpiri won the Prix Corsica which allowed him to go to Marseilles. His stay there so impressed him, that he declared it was a turning point of his art. Not only did he find a whole new world to paint which was far different subjectively from any life he had known in Paris, but also a new world of color. -
Alexander Calder James Johnson Sweeney
Alexander Calder James Johnson Sweeney Author Sweeney, James Johnson, 1900-1986 Date 1943 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2870 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 THE MUSEUM OF RN ART, NEW YORK LIBRARY! THE MUSEUM OF MODERN ART Received: 11/2- JAMES JOHNSON SWEENEY ALEXANDER CALDER THE MUSEUM OF MODERN ART, NEW YORK t/o ^ 2^-2 f \ ) TRUSTEESOF THE MUSEUM OF MODERN ART Stephen C. Clark, Chairman of the Board; McAlpin*, William S. Paley, Mrs. John Park Mrs. John D. Rockefeller, Jr., ist Vice-Chair inson, Jr., Mrs. Charles S. Payson, Beardsley man; Samuel A. Lewisohn, 2nd Vice-Chair Ruml, Carleton Sprague Smith, James Thrall man; John Hay Whitney*, President; John E. Soby, Edward M. M. Warburg*. Abbott, Vice-President; Alfred H. Barr, Jr., Vice-President; Mrs. David M. Levy, Treas HONORARY TRUSTEES urer; Mrs. Robert Woods Bliss, Mrs. W. Mur ray Crane, Marshall Field, Philip L. Goodwin, Frederic Clay Bartlett, Frank Crowninshield, A. Conger Goodyear, Mrs. Simon Guggenheim, Duncan Phillips, Paul J. Sachs, Mrs. John S. Henry R. Luce, Archibald MacLeish, David H. Sheppard. * On duty with the Armed Forces. Copyright 1943 by The Museum of Modern Art, 11 West 53 Street, New York Printed in the United States of America 4 CONTENTS LENDERS TO THE EXHIBITION Black Dots, 1941 Photo Herbert Matter Frontispiece Mrs. Whitney Allen, Rochester, New York; Collection Mrs.