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Sean Landers
SEAN LANDERS 1962 Born in Palmer, MA, USA 1984 BFA, Philadelphia College of Art, Philadelphia, PA, USA 1986 MFA, Yale University School of Art, New Haven, CT, USA Lives and works in New York, NY, USA SOLO EXHIBITIONS 2020 2020 Vision, Petzel Gallery, New York, NY, USA (online presentation) Northeaster, greengrassi, London, UK Consortium Museum, Dijon, France (curated by Eric Troncy) 2019 Ben Brown Fine Arts, Hong Kong Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] Curated by . Featuring Sean Landers, Petzel Bookstore, New York, NY, USA Sean Landers: Studio Films 90/95, Freehouse, London, UK (curated by Daren Flook) 2018 Petzel Gallery, New York, NY, USA [Cat.] 2016 Sean Landers: Small Brass Raffle Drum, Capitain Petzel, Berlin, Germany 2015 Taka Ishii Gallery, Tokyo, Japan Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] China Art Objects, Los Angeles, CA, USA 2014 Sean Landers: North American Mammals, Petzel Gallery, New York, NY, USA [Cat.] 2012 Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] Longmore, Sorry We’re Closed, Brussels, Belgium greengrassi, London, UK 2011 Sean Landers: Around the World Alone, Friedrich Petzel Gallery, New York, NY, USA Sean Landers: A Midnight Modern Conversation, Marianne Boesky Gallery, New York, NY [CAT.] 2010 Sean Landers: 1991-1994, Improbable History, Contemporary Art Museum St. Louis, St. Louis, MO, USA (curated by Laura Fried and Paul Ha) [Cat.] 2009 Sean Landers: Art, Life and God, Glenn Horowitz Bookseller, East Hampton, NY, USA (curated by Jeremy Sanders) greengrassi, London, UK Sean -
News Release
NEWS RELEASE FOR IMMEDIATE RELEASE Lauren Kistner, Marketing & Communications Manager August 1, 2017 314.615.5277 / [email protected] Laumeier Sculpture Park Acquires Tony Tasset’s Deer, 2015, in Honor of 40th Anniversary Year (ST. LOUIS, MO)—Laumeier Sculpture Park announced today the acquisition and upcoming installation of a new sculpture by artist Tony Tasset, whose Eye, 2007, is already one of the most iconic sculptures in the Park. Tasset’s Deer, 2015, is a larger-than-life, 12-foot-tall sculpture of a white-tailed doe made of painted, steel-reinforced fiberglass. The major acquisition honors and celebrates the nonprofit organization’s 40th Anniversary year. The sculpture will be accessioned into Laumeier’s Permanent Collection and installed in the Way Field in August 2017. Tony Tasset is arguably one of the most inventive sculptors working in the United States today. Since the mid-1990s, he has created increasingly ambitious sculptures; his cunning work explores how we collectively dwell in the landscape. Deer celebrates the unique environment created when art frames nature. The artwork’s size suggests how nature is out of balance in today’s urban and suburban spaces, and how humans impact the species around us. The surreal juxtaposition of the super-sized deer emerging from the woods dramatizes the relationship of what it means to be human, the identity of sculpture and their respective places in nature. “As one of the first and largest dedicated sculpture parks in the country, Laumeier Sculpture Park has set many of the standards for public practice that combine curated public art with the interpretation and stewardship of a traditional indoor museum,” said Dana Turkovic, Associate Curator at Laumeier Sculpture Park. -
The Newberry Annual Report 2019–20
The Newberry A nnua l Repor t 2019–20 30 Fall/Winter 2020 Letter from the Chair and the President Dear Friends and Supporters of the Newberry, The Newberry’s 133rd year began with sweeping changes in library leadership when Daniel Greene was appointed President and Librarian in August 2019. The year concluded in the midst of a global pandemic which mandated the closure of our building. As the Newberry staff adjusted to the abrupt change of working from home in mid-March, we quickly found innovative ways to continue engaging with our many audiences while making Chair of the Board of Trustees President and Librarian plans to safely reopen the building. The Newberry David C. Hilliard Daniel Greene responded both to the pandemic and to the civil unrest in Chicago and nationwide with creativity, energy, and dedication to advancing the library’s mission in a changed world. Our work at the Newberry relies on gathering people together to think deeply about the humanities. Our community—including readers, scholars, students, exhibition visitors, program attendees, volunteers, and donors—brings the library’s collection to life through research and collaboration. After in-person gatherings became impossible, we joined together in new ways, connecting with our community online. Our popular Adult Education Seminars, for example, offered a full array of classes over Zoom this summer, and our public programs also went online. In both cases, attendance skyrocketed, and we were able to significantly expand our geographic reach. With the Reading Rooms closed, library staff responded to more than 450 research questions over email while working from home. -
Alison Wilding
!"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New -
Folklife Today September 2019: Chicago Ethnic Arts Project
Folklife Today September 2019: Chicago Ethnic Arts Project Announcer: From the Library of Congress in Washington DC John Fenn: Welcome to the Folklife Today podcast. I’m John Fenn, and I’m here with my colleague Stephen Winick. Steve Winick: Hello! John Fenn: We’re both folklorists at the American Folklife Center here at the Library of Congress. I’m the head of Research and Programs, and Steve is the Center’s writer and editor, as well as the creator of the Folklife Today blog. Steve Winick: And today, we’re joined by several guests from the AFC to talk about an online collection of ours, the Chicago Ethnic Arts Project collection. This was the first of AFC's historic field projects, and the collection was digitized and then made available on the Library of Congress’s website just about two years ago. And a lot has been going on with it since, so, we've asked some of our colleagues to help us talk about it. Our first guest is our coordinator of Processing, Ann Hoog. Hi Ann! Ann Hoog: Hello! John Fenn: Ann, you know the collection quite well since you were involved in getting it ready for public online access. Where do we start? Ann Hoog: Well, let me first say that I do know it fairly well, but it is such an immense resource that I am still learning new things about it! But a good place to start is with the type of collection that it is – meaning, how it came to be. As you can tell by its name, the Chicago Ethnic Arts Project collection, represents materials from a cultural research and documentation project, or survey, that was undertaken in 1977. -
M Noo the Ch Lu Eeting of On, Wedne Hicago Trib Ther King Someth The
Board Book Meeting of the Board of Trustees of the Chicago Historical Society Noon, Wednesday, January 25, 2017, at the Chicago History Museum (Hyperlink to Table of Contents) The Chicago Tribune recommends the Chicago History Museum for Martin Luther King Day: “Probably the most thorough programming with something for all ages is at the Chicago History Museum.” We share Chicago’s stories, serving as a hub of scholarship and learning, inspiration and civic engagement. BOARD BOOK TABLE OF CONTENTS CHICAGO HISTORICAL SOCIETY BOARD OF TRUSTEES MEETINGS (Jump to links to each section) MEETING‐RELATED AND BACKGROUND MATERIALS TAB 1 AGENDA; CHAIR’S REPORT Also includes consent agenda materials, such as Minutes from the last Board of Trustees meeting, minutes from recent Executive Committee meeting(s), routine authorizations and motions TAB 2 PRESIDENT’S REPORT AND SPECIAL PRESENTATIONS TAB 3 AUDIT AND FINANCE INTERIM FINANCIALS FY 2017 SECOND QUARTER TAB 4 NOMINATING COMMITTEE Current list of Officers and Trustees (no new nominations this meeting) TAB 5 DEVELOPMENT COMMITTEE AND SUPPORT GROUPS Making History Committee, Guild, Costume Council TAB 6 INVESTMENT COMMITTEE TAB 7 VICE PRESIDENT’S REPORT Includes reports from Collections and Research Committee BACKGROUND FEATURES TAB 8 PRESIDENT’S BACKGROUND Activities, book recommendations, blogs, news from our Museum, Museums in the Park, and from the field TAB 9 BOARD SUPPORT Vademecum – Trustee guide to what’s coming up at the Museum, committee members, committee dates, news about Trustees, list of Board orientation materials (available upon request), and refresher item from orientation materials TAB 10 EXTRA CREDIT An important report on gun violence in Chicago We welcome two new Trustees to today’s meeting– Ronald G. -
Sean Landers Cv 2021 0223
SEAN LANDERS Born 1962, Palmer, MA Lives and works in New York, NY EDUCATION 1986 MFA, Yale University School of Art, New Haven, CT 1984 BFA, Philadelphia College of Art, Philadelphia, PA SOLO EXHIBITIONS 2020 Petzel Gallery, New York, NY, 2020 Vision, April 26–ongoing (online presentation) Greengrassi, London, UK, Northeaster, June 16–July 31 Consortium Museum, Dijon, France, March 13– October 18, curated by Eric Troncy 2019 Ben Brown Fine Arts, Hong Kong, China, November 12–January 9, 2020 Galerie Rodolphe Janssen, Brussels, Belgium, November 9–December 20 (catalogue) Petzel Bookstore, New York, NY, Curated by . Featuring Sean Landers, November 7– December 14 Freehouse, London, UK, Sean Landers: Studio Films 90/95, curated by Daren Flook, January 13–February 24 2018 Petzel Gallery, New York, NY, March 1–April 21 (catalogue) 2016 Capitain Petzel, Berlin, Germany, Sean Landers: Small Brass Raffle Drum, September 16– October 29 2015 Taka Ishii Gallery, Tokyo, Japan, December 5–January 16, 2016 Galerie Rodolphe Janssen, Brussels, Belgium, October 29–December 19 (catalogue) China Art Objects, Los Angeles, CA, February 21–April 11 2014 Petzel Gallery, New York, NY, Sean Landers: North American Mammals, November 13– December 20 (catalogue) 2012 Galerie Rodolphe Janssen, Brussels, Belgium, November 8–December 21(catalogue) Sorry We’re Closed, Brussels, Belgium, Longmore, November 8–December 21 greengrassi, London, UK, April 26–June 16 1 2011 Friedrich Petzel Gallery, New York, NY, Sean Landers: Around the World Alone, May 6–June 25 Marianne Boesky Gallery, New York, NY, Sean Landers: A Midnight Modern Conversation, April 21–June 18 (catalogue) 2010 Contemporary Art Museum St. -
Final Report
____________________________________________________ National Digital Stewardship Residency | NDSR Art Final Report July 2019 Molly Szymanski Host: The Art Institute of Chicago Project: Capturing the Museum Experience: Saving Electronic Media in the Galleries ______________________________________________ Project Overview ________________________________________________________________ As the NDSR Art resident at The Art Institute of Chicago (AIC), my project was focused on building a digital archiving and preservation program through the case study of born-digital materials related to visitor experience at the museum. I was hosted by Ryerson and Burnham Libraries at AIC, which houses the Institutional Archive collection. Like many art museums with contemporary collections items, AIC had begun to build capacity and time-based media initiatives focused on preserving digital art items. Less widely addressed across museums and other cultural heritage institutions was the preservation of other complex art-information objects. These materials include audio tours, digital art labels, video presentations, and interactive touchscreens that enhance the gallery experience and contain valuable research, art documentation, and contextual information. The current institutional Digial Asset Management System (DAMS) does not ingest content that is not related directly to collection objects, and as a result these digital items were not being systematically collected, indexed, and preserved for long-term access. Therefore, the residency project was also focused on developing procedures for acquisition and ingest into a digital repository. During the first half of the residency, significant progress was made to understand and document the current institutional capacity for digital preservation and digital archiving. The project activities listed in this report have supported and provided valuable quantitative and qualitative context to this understanding. -
2017 Annual Report Table of Contents
The Power of We. THE CHICAGO COMMUNITY TRUST 2017 ANNUAL REPORT TABLE OF CONTENTS In Appreciation: Terry Mazany . 2 Year in Review . 4 Our Stories: Philanthropy in Action . 8 In Memoriam . 20 Competitive Grants . 22 Grants from the Searle Funds at The Chicago Community Trust . 46 Searle Scholars . 47 Donor Advised Grants . 48 Designated Grants . 76 Matching Gifts . 77 Grants from Identity-Focused Funds . 78 Grants from Supporting Organizations . 80 Grants from Collaborative Funds . 84 Funds of The Chicago Community Trust and Affiliates . 87 Contributors to Funds at The Chicago Community Trust and Affiliates . 99 The 1915 Society . 108 Professional Advisory Committee and Young Professional Advisory Committee . 111 Financial Highlights . 112 Executive Committee . 116 Trustees Committee and Banks . 117 The Chicago Community Trust Staff . 118 Trust at a Glance . 122 The power to reach. The power to dream. The power to build, uplift and create. The power to move the immovable, to align our reality to the best of our ideals. That is the power of we. We know that change doesn’t happen in silos. From our beginning, The Chicago Community Trust has understood that more voices, more minds, more hearts are better than one. It is our collective actions, ideas and generosity that propel us forward together. We find strength in our differences, common ground in our unparalleled love for our region. We take courage knowing that any challenge we face, we face as one. We draw power from our shared purpose, power that renews and emboldens us on our journey – the world-changing power of we. Helene D. -
2014–2015 Annual Report Oi.Uchicago.Edu
oi.uchicago.edu oi.uchicago.edu THE ORIENTAL INSTITUTE 2014–2015 ANNUAL REPORT oi.uchicago.edu © 2015 by The University of Chicago. All rights reserved. Published 2015. Printed in the United States of America. The Oriental Institute, Chicago ISBN: 978-1-61491-030-5 Editor: Gil J. Stein Production facilitated by Editorial Assistants Jalissa Barnslater-Hauck and Le’Priya White Cover illustration: Overleaf: Folio from a Qurʾan. Mamluk, 1435/6 AD. Ink on paper. 30 × 21 cm. OIM A12030A (photo D. 027328: Anna Ressman) The pages that divide the sections of this year’s report feature images from the special exhibition A Cosmopolitan City: Muslims, Christians, and Jews in Old Cairo, on display at the Oriental Institute from February 17 to September 13, 2015. Printed by King Printing Company, Inc., Lowell, Massachusetts, USA Above: Bowl fragment with sgraffiato decoration. Pottery with glaze. Mamluk, early 1300s AD. Fustat, Egypt. 12.4 × 4.3 cm. OIM E25431 (photo D. 027372: Anna Ressman) oi.uchicago.edu CONTENTS CONTENTS INTRODUCTION INTRODUCTION. Gil J. Stein ........................................................ 5 IN MEMORIAM . 7 RESEARCH PROJECT REPORTS ACHEMENET . Jack Green and Matthew W. Stolper ................................................ 11 AMBROYI, ARMENIA . Frina Babayan, Kathryn Franklin, and Tasha Vorderstrasse ....................... 14 ÇADIR HÖYÜK . Gregory McMahon............................................................ 21 CENTER FOR ANCIENT MIDDLE EASTERN LANDSCAPES (CAMEL) . Emily Hammer ........................ 28 CHICAGO -
Annewilsonresume
ANNE WILSON https://annewilsonartist.com [email protected] Chicago and Evanston, Illinois USA SELECTED EXHIBITIONS 2021 Hair Stories, Newport Art Museum, Newport, RI (summer 21) Mortal Coil, Zuckerman Museum of Art, Kennesaw, GA (catalog, Aug-Dec 21) With Eyes Opened: Cranbrook Academy of Art Since 1932, Cranbrook Art Museum, Bloomfield Hills, MI (catalog, summer 21) 2020 Anne Wilson: If We Asked about the Sky, Rhona Hoffman Gallery, Chicago, IL (solo) Ars Electronica Festival for Art, Technology & Society, In Kepler’s Gardens, Festival Sept 9-13. Translation of Errant Behaviors (Anne Wilson and Shawn Decker, Cat Solen, Daniel Torrente) Website: https://disposition.ats.community China and USA TechnoloGy and Innovation in Fiber Art, virtual exhibition hosted by the Academy of Arts & Design, Tshinghua University, Beijing and School of Art, The University of the Arts, Philadelphia (Nov-Dec) The WeiGht of the Body, University Galleries, William Paterson University, Wayne, NJ In Stitches, Racine Art Museum, Racine, WI 2019 bauhaus imaginista, Haus der Kulturen der Welt (HKW), Berlin, traveling to Zentrum Paul Klee, Bern, Switzerland DialoGues - Beyond Borders (Special Guests) within the 16th International Triennial of Tapestry, Central Museum of TeXtiles, Łódź, Poland Expo Chicago, Chicago, IL (Rhona Hoffman Gallery) 2018 Handheld, The Aldrich Museum of Contemporary Art, Ridgefield, CT FRONT International: Cleveland Triennial for Contemporary Art, Cleveland Institute of Art, OH bauhaus imaginista: Learning From, SESC Pompéia São Paulo, Brazil MAD Collects: The Future of Craft Part 1, Museum of Arts and Design, New York, NY Through Her Eye, Mana Contemporary, Chicago, IL To Time!, Paul Kotula Projects, Detroit, MI True to Form: Selections from the Permanent Collection, Cranbrook Art Museum, Bloomfield Hills, MI Beasts, Racine Art Museum. -
Sympathy and Science: Social Settlements and Museums Forging the Future Through a Usable Past
SYMPATHY AND SCIENCE: SOCIAL SETTLEMENTS AND MUSEUMS FORGING THE FUTURE THROUGH A USABLE PAST A Thesis Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS by Cynthia F. Heider August 2018 Examining Committee Members: Hilary Iris Lowe, Ph.D., Advisory Chair, Department of History Seth C. Bruggeman, Ph.D., Department of History Lisa Junkin Lopez, M.A., Executive Director, Juliette Gordon Low Birthplace ABSTRACT Affiliates of the United States settlement house movement provided a historical precedent for engaged, community-centered museum practice. Their innovations upon the social survey, a key sociological data collection and data visualization tool, as well as their efforts to interpret results via innovative, culturally democratic exhibition techniques, had a contemporary impact on both museum practice and the history of social work. This impact resonates in the socially-responsive work of community museums of the recent past. The ethics of settlement methodology- including flexibility, experimentalism, empathetic practice, local community focus, and social justice activism- foreshadow the precepts and practices of what is now known as public history. ii I dedicate this thesis to Peter Heider, my husband, whose love, humor, patience, and encouragement made this dream obtainable. I owe you one. iii ACKNOWLEDGMENTS This thesis would not have been possible without the support of dozens of wonderful people. Thanks are due especially to the staff and clientele of the Lutheran Settlement House, who generously welcomed me, a stranger, into their community. I am touched and humbled by their magnanimity. For their assistance with my numerous research requests, thanks to the archivists and librarians of the Drexel University Medical School Special Collections and Archives, the Temple University Special Collections Research Center, the Philadelphia Museum of Art, and the Lutheran Theological Seminary of Philadelphia.