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sonyclasica · 1 month

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HAUSER

"LULLABY"

El violonchelista de fama mundial HAUSER desvela "Lullaby", tercer single de su esperado nuevo álbum CLASSIC II, que saldrá a la venta el viernes 19 de abril.

Escucha el adelanto AQUÍ

Mira el vídeo AQUÍ

HAUSER capta maravillosamente la esencia intemporal de la "Canción de cuna" de Brahms, infundiéndole su característica armonía llena de gracia. El vídeo que lo acompaña es un retrato pintoresco, rodado a la luz de las velas en su tierra natal, Croacia. Escúchalo aquí y mira el vídeo musical aquí.

"La "Canción de cuna" de Brahms es LA canción de cuna universal", dice HAUSER, "y es la forma perfecta de cerrar el álbum CLÁSICO II".

Con más de 1.000 millones de streams de audio y 4.000 millones de visitas a vídeos, HAUSER sigue hipnotizando al público con su maestría artística y su inquebrantable pasión por la música. Su último álbum CLASSIC II continuación del aclamado lanzamiento de 2020 CLASSIC, contiene 18 melodías inolvidables, con arreglos magistrales que realzan la expresividad del violonchelo. Grabado con la prestigiosa Orquesta Sinfónica de Londres bajo la dirección de Robert Ziegler, y con arreglos de Robin Smith, el álbum promete redefinir las obras maestras clásicas con nuevas y elegantes formas.

"Es imposible equivocarse dándole al violonchelo una melodía bella y cantarina", dice HAUSER sobre su nuevo álbum. "¡Siempre hay muchas posibilidades de que suene incluso mejor que el original!"

A principios de este año, HAUSER deleitó a sus fans con el lanzamiento del primer single, una interpretación profundamente evocadora de "Kiss the Rain" de Yiruma. El videoclip que lo acompaña, una obra maestra visual por derecho propio, ya está disponible. Recientemente lanzó su segundo single "Emmanuel" junto con un impresionante videoclip rodado en el bosque de su Croacia natal.

Tras finalizar 2023 con el lanzamiento de su primer álbum navideño, HAUSER no da señales de bajar el ritmo en 2024, mientras se prepara para su primera gira en solitario por Estados Unidos esta primavera. La gira, que comenzará el 31 de mayo en el Hard Rock Live de Hollywood, Florida, incluye paradas en lugares emblemáticos como el Carnegie Hall de Nueva York, el Festival Ravinia de Chicago, el Ryman Auditorium de Nashville y el Orpheum Theatre de Los Ángeles. Las entradas para la gira estadounidense 2024 de HAUSER ya están disponibles en HAUSERofficial.com/event-directory.

HAUSER – CLASSIC II

TRACKLISTING –

Albinoni Adagio

Mozart Piano Concerto No. 23

Arioso

Rachmaninoff Symphony No. 2

Slavonic Dance

Emmanuel

Kiss The Rain

Serenade

Song to the Moon (from Rusalka)

Una Furtiva Lagrima

Pathétique Sonata

Intermezzo

Tristesse

Adagio d'Amore

Rhapsody on a Theme of Paganini

Postlude No. 3

Adagietto

Lullaby

FECHAS DE LA GIRA 2024 DE HAUSER: ESTADOS UNIDOS Y CANADÁ

Vie, 31 de mayo de 2024 - Hollywood, FL - Hard Rock Live

Sáb, 1 de junio de 2024 - Clearwater, FL - Ruth Eckerd Hall

Dom, 2 de junio de 2024 - Orlando, FL - Walt Disney Theater

Martes, 4 de junio de 2024 - Virginia Beach, VA - Sandler Center

Mié, 5 de junio de 2024 - Washington, DC - Teatro Warner

Jueves, 6 de junio de 2024 - Nueva York, NY - Carnegie Hall

Sáb, 8 de junio de 2024 -Toronto, ON - Massey Hall

Dom, 9 de junio de 2024 - Detroit, MI - Fisher Theatre

Martes, 11 de junio de 2024 - Indianápolis, IN - Teatro Murat

Jueves, 13 de junio de 2024 - Minneapolis, MN - State Theatre

Vie, 14 de junio de 2024 - Chicago, IL - Festival Ravinia

Sáb, 15 de junio de 2024 - Nashville, TN - Ryman Auditorium

Lun, 17 de junio de 2024 - Dallas, TX - AT&T Performing Arts Center

Martes, 18 de junio de 2024 - Austin, TX - Bass Concert Hall

Jueves, 20 de junio de 2024 - Denver, CO - Paramount Theatre

Vie, 21 de junio de 2024 - Salt Lake City, UT - Eccles Theater

Sáb, 22 de junio de 2024 - Las Vegas, NV - Wynn Las Vegas - Encore Theater

Dom, 23 de junio de 2024 - Costa Mesa, CA - Segerstrom Center for the Arts

Martes, 25 de junio de 2024 - Phoenix, AZ - Mesa Arts Center

Jueves, 27 de junio de 2024 - Los Angeles, CA - Orpheum Theatre

Vie, 28 de junio de 2024 - Saratoga, CA - The Mountain Winery

Sáb, 29 de junio de 2024 - Oakland, CA - Fox Theater

HAUSER – 2024 FECHAS DE LA GIRA POR AUSTRALIA / NUEVA ZELANDA

Viernes 12 de abril de 2024 - Brisbane, Australia - Brisbane Entertainment Centre

Sábado 13 de abril de 2024 - Sydney, Australia - Qudos Bank Arena

Miércoles 17 de abril de 2024 - Auckland, New Zealand - Spark Arena

Viernes 19 de abril de 2024 - Melbourne, Australia - Rod Laver Arena

Sábado 20 de abril de 2024 - Perth, Australia - RAC Arena

HAUSER - FECHAS DE LA GIRA POR JAPÓN/TAIWÁN 2024

Mié, 24 de abril de 2024 - Osaka, Japón - Centro Internacional de Convenciones de Osaka (Grand Cube)

Jueves, 25 de abril de 2024 - Tokio, Japón - Foro Internacional de Tokio Sala A

Sáb, 27 de abril de 2024 - Tokio, Japón - NHK Hall

Martes, 30 de abril de 2024 – Taipei, Taiwan – Taipei Music Center

HAUSER - 2024 ORIENTE MEDIO

Vie, 16 de mayo de 2024 - Dubai, Emiratos Árabes Unidos - Ópera de Dubái

Sáb, 17 de mayo de 2024 - Dubai, Emiratos Árabes Unidos - Ópera de Dubái

HAUSER – 2024 EUROPA

Martes, 9 de julio de 2024 - Tartu, Estonia - Tartu Lauluväljak

Mié, 10 de julio de 2024 - Sigulda, Letonia - Castillo De La Orden De Livonia

Jueves, 11 de julio de 2024 - Vilna, Lituania - Kalnų parkas

Sáb, 13 de julio de 2024 - Bucarest, Rumanía - Las Arenas Romanas

Dom, 14 de julio de 2024 - Plovdiv, Bulgaria - Teatro Antiguo

Lun, 15 de julio, 2-24 - Plovdiv, Bulgaria - Teatro Antiguo

Mié, 17 de julio de 2024 - Ratisbona, Alemania - Thurn und Taxis Schlossfestspiele

Dom, 21 de julio de 2024 - Łódź, Polonia - Atlas Arena

Mié, 24 de julio de 2024 - Nitra, Eslovaquia - Anfiteatro

Vie, 26 de julio de 2024 - Kroměříž, Chequia - Palacio Arzobispal de Kroměříž

Sáb, 27 de julio de 2024 - Kroměříž, Chequia - Palacio Arzobispal de Kroměříž

Jue, 1 de agosto de 2024 - Sitges, España - Jardins de Terramar

Sábado 3 de agosto de 2024 – Murcia, España – Festival Murcia On

Domingo 4 de agosto de 2024 - Chiclana de la Frontera, España – Concert Music Festival

Miércoles 7 de agosto de 2024 – Marbella, España – Starlite Marbella

Miércoles 14 de agosto de 2014 - Estambul, Turquía - Uniq Açik Hava

Viernes 13 de septiembre de 2014 – Atenas, Grecia - Lycabettus Theatre

ENTRADAS Y MÁS INFORMACIÓN: HAUSERofficial.com/event-directory.

CONECTA CON HAUSER: PÁGINA WEB | FACEBOOK | INSTAGRAM | YOUTUBE | TIKTOK

Sony Music Masterworks abarca los sellos Masterworks, Sony Classical, Milan Records, XXIM Records y Masterworks Broadway. Para recibir información y actualizaciones por correo electrónico visita www.sonymusicmasterworks.com/

#hauser

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scottnandrew · 2 years

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TQ Live! 2022 at CMoA

TQ Live! presents a queer evening of dazzling performance, dance, poetry, comedy, resplendent fantasies, music, and more. This eighth installment of the annual performance series features artists and performers from the many LGBTQIA+ communities in the Pittsburgh region. Hosted by Joseph Hall, this year’s lineup includes performances by Yves (NYC), MICHIYAYA Dance, Corrine Jasmin, Soft Boy, Juiced up Joey, Flamming Creatures, Victoria L Van-Cartier, Manny Dibiachi, and Mara Bailey of "THE EXCLUSIVE HOUSE of MAKAVELI SHAKUR" (from HBO’s Legendary) with guest performer Jahmara 'Tinky' Younger, along with visuals by VJ ASS TROLL, and a dance party featuring HUNY. TQ Live! 2022 is produced by Scott Andrew, Joseph Hall, Suzie Silver, and sarah huny young, and is co-presented by Carnegie Museum of Art. Food truck and bar on-site! TICKETS: https://cmoa.org/event/tq-live-2022/ CO-PRESENTED PROGRAM Co-presented programs at Carnegie Museum of Art support artists and organizations with physical space and program resources. These mutually supportive relationships create shared audiences, expand programmatic offerings and contribute to the rich cultural ecology of the region. SUPPORT TQ Live! 2022 is supported by the Opportunity Fund, Carnegie Mellon University School of Art, the Frank-Ratchye STUDIO for Creative Inquiry, the Sylvia and David Steiner Speaker Series, and The Center for Arts in Society. TQ Live's Projections are sponsored and supported by the Video and Media Design Graduate program at Carnegie Mellon's School of Drama. Featuring @the_yvesdropper @corrinewho @mx.softboy @mannydibiachi @official_marabailey @ickyvickypgh huny young] @_juicedupjoey @michiyayadance with Flamming Creatures and VJ Ass Troll. Organized by @suzie.silver huny young] @josephdanielhall and @fagnelly And made possible by the Opportunity Fund, Carnegie Museum of Art] @studioforcreativeinquiry @cmu.vmd

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keithharingst · 1 year

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Keith Haring Merchandise

https://www.keithharing.store/Keith Haring Merchandise

Throughout his lifetime, Keith Haring has created some of the most iconic works of art, ranging from murals to posters. These works have been exhibited throughout the world, and are now part of some of the most important public and private collections. He also has worked with a number of well-known brands, including Coca-Cola and Starbucks. In this article, we'll discuss the artist's life, his work and the influences that have helped shape his style. Artwork held in major public and private collections

During his short career, Keith Haring became one of the most influential voices in the contemporary art scene. He drew attention to social issues like HIV/AIDS and drug dependency. He also dabbled in film and performance arts. As a result, his work became a fixture in popular culture.

Keith Haring was born in Reading, Pennsylvania in 1958. He grew up during the golden age of Pop Art. He was introduced to art by his father, who taught him to draw. His father also encouraged him to invent his own characters. He later studied art at the School of Visual Arts in New York. He participated in more than 50 group exhibitions. He also participated in a number of public art projects. He moved to New York City in 1978. keith haring Merchandise

He became friends with Kenny Scharf and Jean-Michel Basquiat. He also made connections with the alternative art community in New York City. Influences on his style

Known as one of the most influential contemporary American artists of the last two decades, Keith Haring is a painter and sculptor who has a signature style of stylised shapes. His art is bright, playful and filled with warm, bright colours. The style is based on comic book illustrations and utilises simple, repetitive shapes.

Keith Haring was born in Reading, Pennsylvania, in 1958. After graduating from high school, he studied art at the School of Visual Arts in New York City. His style incorporated bright colours and simple shapes, with a distinctive black outline. He worked in a variety of mediums, including painting, sculpture, and etching. He also created advertising billboards, and his art was exhibited internationally at the Whitney biennial, the Museum of Modern Art in New York, and the Carnegie Museum in Pittsburgh. He died of AIDS in 1990.

Keith Haring moved to New York City in 1978. He enrolled at the School of Visual Arts, where he studied painting. He also worked at the Pittsburgh Center for the Arts and the Ivy School of Professional Art in Pittsburgh. Collaborations with brands

Several brands have taken inspiration from Keith Haring's works. They have incorporated his iconic figures into their line of footwear, as well as releasing a series of limited edition prints. These are available in physical stores as well as major e-commerce sites. keith haring merch

The Element Keith Haring capsule collection features T-shirts, jackets, and accessories. This capsule collection merges skateboarding with street art. It's a collaboration between Element and Artestar. This agency handles the works of several high profile artists, including Jean-Michel Basquiat.

In addition to Element, the Keith Haring x Pandora collection will be available for a limited time. The collection features Haring's colourful works and is based on his iconic bold lines.

Artestar has also worked with several other high profile artists, including Mickalene Thomas and Jean-Michel Basquiat. The company also acts as an intermediary between brands and artists, ensuring that all collaborations are authentic. The company has offices in both the US and China. Life after death

During the 1980s, New York City was a melting pot of creativity, with artists from all over the world coming to make a name for themselves. Keith Haring was one of the early pioneers. The artist's trademark barking dogs and howling babies became ubiquitous.

Keith Haring's art was influential, both as a political statement and as a form of activism. He fought against drug abuse and racism, and his works helped raise awareness for the HIV/AIDS epidemic in South Africa. The artist also campaigned for the rights of people with disabilities. He was diagnosed with AIDS in 1988. He later died of complications related to AIDS.

Keith Haring's artwork was initially inspired by the Jesus Movement, a group of Christians who criticized the church. The group had a loose structure, but was noted for its sympathy for the impoverished and anti-establishment ideas. The artist became deeply involved in the movement as a child.https://www.keithharing.store/

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metz-n-matteo · 2 years

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Highlights from the Celebration of the Visual Arts show up until May 26th. The annual showcase of the creative talents of local grade, middle and high school students at the Carnegie Center in Three Rivers, MI. www.trcarnegie.com #art #artexhibition #artexhibit #studentart #carnegiecenterforthearts #threeriversmichigan (at The Carnegie Center For The Arts) https://www.instagram.com/p/CdveDaSutuJ/?igshid=NGJjMDIxMWI=

#art #artexhibition #artexhibit #studentart #carnegiecenterforthearts #threeriversmichigan

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d-criss-news · 3 years

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Darren Criss and Este Haim’s Friendship Takes Center Stage on That Thing I Do

On their new podcast, the musician-actors are picking the brains of fellow creatives about the passions that fuel and define them.

Darren Criss and Este Haim may have named their podcast That Thing I Do after the mid-’90s movie close to their hearts—That Thing You Do!, about the rise and fall of a fictional rock band—but there’s another film that seemed to loom just as large when creating their show.

“I think we’re like, slightly obsessed with the Sliding Doors moment,” Haim told Vanity Fair, referencing the 1998 rom-com that follows Gwyneth Paltrow’s character down two divergent timelines. “If you’re so incredibly passionate about multiple things, what is the thing? What is the event? Was there an event that made you kind of pivot and just go left instead of going right at that fork in the road?”

That pivotal crossroads is just one of the topics that Criss and Haim are eager to delve into on their show. Produced by Cadence13, That Thing I Do is a friendship-fueled quest to understand the passions, past and present, that have shaped the careers of other multi-hyphenate artists (Criss is an actor with a background in music, and Haim is a musician with roots in theater). In addition to lengthy, intimate conversations with celebrities including Carly Rae Jepsen, Evan Rachel Wood, and Reggie Watts, That Thing I Do mines Criss and Haim’s insatiable curiosity for all things creative to produce episodes that are as unpredictable as they are delightful.

As hosts, Criss and Haim tear through each episode like tornados: Accents are adopted, sentences are sung, and movie references and inside jokes fly hard and fast. Criss is a verbose, hyperkinetic storyteller, quick with a self-deprecating comment or quippy aside, and Haim is eager and unselfconscious, with a palpable enthusiasm for every guest and every possible subject. It quickly becomes clear that this is one of those friendships where the participants seem to more or less share a brain; where one can riff off the other, seemingly in perpetuity, about any number of topics without ever getting bored. And when a pair of celebrities find themselves so simpatico—especially a duo as funny and game as these two—what are they supposed to do? Not start a podcast?

That was more or less Haim’s thinking, after she and Criss started logging lengthy FaceTime calls during the pandemic that she increasingly felt would be entertaining to a wider audience. Criss, however, was more reluctant to start recording their conversations: “I said no so many times,” he said. “I really felt like I didn’t have time. But Este wore me down.”“I am pretty relentless when I want to do something,” said Haim, grinning. Haim, one-third of the eponymous rock band Haim, experienced her own “Sliding Doors moment” in her late teens, when after years of theater and dance training, she chose to attend the University of California, Los Angeles, for ethnomusicology, instead of pursuing drama programs at Carnegie Mellon or New York University. Over 10 years later, with a slew of Grammy nominations under her belt, music videos directed by Paul Thomas Anderson, and a life spent performing alongside sisters Danielle and Alana, there’s no question that Haim loves what she does, and takes it seriously. “I try to work at my craft every single day,” said Haim. “So at least I have that. I definitely try to stay creative every single day. If it’s not me writing lyrics, it’s me, you know, singing ideas into my iPhone.” But she’s still open about a “hunger” for acting and dance that she feels is still important to nourish, however and whenever she can. She reminisces about taking an improv class at the Upright Citizens Brigade in 2017, and her love of the Suzuki and Viewpoints methods of acting, both movement-based techniques that draw on an extreme awareness of the body. She claims she still interrogates actor friends about their experiences working in avant-garde theater (she charmingly calls these conversations “offline podcasts”).

Haim’s passion when talking about physical theater surprises even Criss: “We’ve talked a lot about stuff, but we’ve never really talked about [Suzuki],” he said. “I want to talk about that in the podcast, because we get to learn new stuff about each other every week.”

That real-time revelation speaks directly to Criss and Haim’s goal with That Thing I Do—to create a space where artists can speak to all parts of themselves, and bring previously unknown or underappreciated areas of passion and skill to light. “One of the things that I always love finding out about artists who I think are so incredible in one field is that there’s usually a seed somewhere else that is just as potent,” said Criss, citing recent interviews with Thundercat, in which the musician revealed his background in visual art, and Maya Rudolph, who majored in photography at University of California, Santa Cruz, before becoming a Saturday Night Live all-star, as prime examples. “Having an artistic spirit is by its nature very amorphous. It usually comes with a lot of roots that go other places.”

That interconnectivity of talents is something that Criss, an Emmy– and Golden Globe Award–winning actor (The Assassination of Gianni Versace: American Crime Story) deeply relates to. As he describes it, each thread of his creative expression is inextricably linked to the other: “When I’m acting, I’m composing music, the way that dialogue is put together has rhythm, cadence, speed, tone, pitch,” he said. “There’s things that are very musical and compositional about the way that you deliver dialogue. So to me, it’s all kind of the same stuff. It’s all one body of water that can take different shapes.”

That’s not to say he hasn’t wondered what his life might have been like had he prioritized one of his skills over another at a certain time, imagining his own Sliding Doors plotline. “I often wonder what would have happened if, when I was 22 and I was getting attention from major labels and acting wasn’t happening, music was happening—would I have been a Shawn Mendestype?” said Criss. “But I don’t mind the expense that I’ve paid in not doing those one things, like, volumetrically. I now have a collection of a lot of things that have lower visibility, but higher passion and gratification.”

To that point, That Thing I Do doesn’t dwell too much on the could-have-beens and what-ifs, as tempting a thought exercise as it may be. He and Haim are more interested in finding the common threads between their own experiences and that of other creatives, and seeking the “why” behind the artistic choices their peers have made. Haim also reveals a less lofty, ulterior motive behind the pod: “This was also our evil plan to make new friends.”

And while both multi-hyphenates may have just added yet another commitment to their already very full plates, both appear energized by their newfound vocation as hosts—and to have a dedicated space to simply shoot the shit with each other. “I think we’re just getting started,” said Criss. “And I think Este would say the same.”

#darren criss #este haim #vanity fair #that thing i do podcast #that thing i do #press #august 2021

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harvard-art-museums-photography · 3 years

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Social Settlements: United States. Massachusetts, Northampton. "Home Culture Club": The Home Culture Clubs, Northampton, Mass.: Home-Culture Clubs. Carnegie House.: A Class in American History., Unidentified Artist, c. 1903, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Transfer from the Carpenter Center for the Visual Arts, Social Museum Collection Size: image: 8.8 x 12.3 cm (3 7/16 x 4 13/16 in.)

https://www.harvardartmuseums.org/collections/object/58729

#museumarchive

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carnegiemuseumnaturalhistory · 3 years

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Queer Eye for Lakota Art

by Vuk Vuković

As a queer individual, I am in constant search of such representation in works of art and art institutions. However, Carnegie Museum of Natural History (CMNH) was the last place I expected to find it.

In the last decade, there has been a push for art institutions to acknowledge queer identities within their galleries. From Tate’s Queer Lives and Art to Art 50 Years After Stonewall at Columbus Museum of Art, art institutions are gradually responding to the public outcry for queer visibility. Although it seems like these initiatives are contemporary, queerness has always been around, especially in institutions centering their work around humans. However, due to stigma, their identities were hidden from the public eye, stored away in warehouses, or worse, placed in the galleries with no context.

During my visit to CMNH’s Section of Anthropology at the “Annex” (the informal name for the Edward O’Neill Research Center), I was astounded by the richness of the collection that represents people in places ranging from the Latin American shores to the deserts of the Arab world. However, the work of art that caught my attention was a five-part panel by Thomas Haukaas, a contemporary Lakota artist. As a non-Lakota and non-Native person, I examine Lakota self-representation without claiming to participate in it myself. Instead, I focus on Lakota culture by citing sources created by members of the tribe and their allies. In Eye Candy (2008), the first panel (Figure 1) depicts a human hand situated next to the rainbow color palette. On the left side, eleven boxes are symmetrically distributed on the page and filled with different colors. Five out of eleven colors (red as a focal point) appear on the right side of the image that portrays a hand in a gesture that demands the viewer to stop. I regard the hand as a signal for viewers to pause and immerse themselves with the strikingly diverse pictorial elements, especially as other panels invite the viewer to look closely.

Figure 1. Thomas Haukaas, Eye Candy, 2008 (Photograph © Deborah Harding, provided by Carnegie Museum of Natural History)

The second, third, and fifth panels (Figure 2) portray several patterned horses – an animal that became a symbol of freedom and representation of many Native American cultures.¹ I grew up admiring the relationship horses had with the land through the animated film Spirit: Stallion of the Cimarron (2002). In the film, Spirit is set free from a U.S. army camp by a Native American man called Little Creek, who attempts to lead him back into the Lakota village. To a kid growing up in Montenegro, a small Mediterranean country in Europe, this was a film about the quest for freedom. As I am writing the blog post, I realize the visual elements Haukaas uses are easily interchangeable with the idea of running free as the horses in his work do. In Eye Candy, he uses the horses to express the diversity and inclusive practices of Lakota people. By applying subtle visual elements, Haukaas alludes to winyanktehca or winkte – “a term traditionally applied to male-bodied or biologically male individuals who did not identify as male or men.”² In contemporary Lakota culture, winkte is mostly used to refer to a homosexual man.³ While their status varied in historical records, most accounts treated the winkte as regular community members.⁴

Figure 2. Thomas Haukaas, Eye Candy, 2008 (Photograph © Deborah Harding, provided by Carnegie Museum of Natural History)

The fourth panel (Figure 3) brings the work together as it combines all sections into one abstract form. I find the ambiguity of this panel to be an overarching connection because the queer community is diverse and fluid, but when it comes together, it is as striking as this panel. However, queer art is not always abstract as artists such as Andy Warhol and Keith Haring are explicit about queerness in their works.

Figure 3. Thomas Haukaas, Eye Candy, 2008 (Photograph © Deborah Harding, provided by Carnegie Museum of Natural History)

As someone who has traveled across four continents and worked in different cultural settings, I am always on the lookout for queer representation, but my favorite encounters are when those representations find me.

Figure 4. Thomas Haukaas, Eye Candy, 2008 (Photograph © Deborah Harding, provided by Carnegie Museum of Natural History)

Vuk Vuković is a PhD student in the History of Art and Architecture at the University of Pittsburgh and an intern in the Section of Anthropology and Archaeology at Carnegie Museum of Natural History. Museum employees and volunteers are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

References

[1]Richard Koepke, Harnessing the Force: A Manual for Weary Seekers (Bloomington: AuthorHouse, 2011), 11. [2] Robert Allen Warrior, The World of Indigenous North America (New York: Routledge, 2015), 1,442. [3] Beatrice Medicine, “Directions in Gender Research in American Indian Societies: Two Spirits and Other Categories,” Online Readings in Psychology and Culture, 3 (1), (2002): 4, https://doi.org/10.9707/2307-0919.1024. [4] Sabine Lang, Men as Women, Women as Men: Changing Gender in Native American Cultures (Austin: University of Texas Press, 2010), 118.

#Carnegie Museum of Natural History #Lakota art #Queer identities in art #Natural History Museum

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gagosiangallery · 3 years

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Gagosian at Frieze Los Angeles Online

July 23, 2021

FRIEZE LOS ANGELES ONLINE Chris Burden

July 27–August 1, 2021 __________ Gagosian is pleased to participate in the inaugural Los Angeles edition of Frieze Viewing Room with a survey of works by Chris Burden (1946–2015). The works will be available simultaneously on the Gagosian website and in the Frieze Viewing Room, accessible at viewingroom.frieze.com. Ranging from ink-on-paper drawings to monumental site-specific sculptures, the presentation commemorates Burden’s significant career and body of work on what would have been the milestone of his seventy-fifth year. A radical figure with a fierce political consciousness, Burden possessed a unique ability to wield conceptual art as a tool for sociopolitical change. Dealing in incisive metaphors for the power dynamics of industry and institution, his work remains relevant—perhaps even more so than before—in today’s world. Burden first gained notoriety using his body as his medium. In his performance work Shoot (1971), he filmed himself being shot in the arm at close range—a searing commentary on the dangerous entanglement between media depictions of gun-toting machismo and the very real violence of the Vietnam War. He documented twenty-three of his early performances in Chris Burden Deluxe Photo Book 1971–73 (1974), a unique self-published artist’s book that adds vital commentary and context to his pioneering and often extreme performances. Burden continued to ground his works in contemporaneous issues throughout his career; his installation of thirty larger-than-life police outfits in L.A.P.D. Uniforms (1993)—one of which is included in this presentation—is a looming reminder of the persistent national crises of racial discrimination and police brutality. America’s Darker Moments (1994) restages five of the country’s twentieth-century atrocities—including the bombing of Hiroshima and the Kent State massacre—using detailed lead figurines made in the style of antique toy soldiers. By presenting these scenes in a vitrine, Burden equates the act of scrutiny with the governmental abuse of power that sparked the events he portrays. In the late 1970s, Burden began working extensively in large-scale sculpture, marrying his interests in architecture and engineering with his meditations on the strictures of the urban world. Dreamer’s Folly (2010) stands in stark contrast with the consciously aggressive aura of his early performances. Three white cast-iron ornamental gazebos—seemingly plucked from a traditional English garden—are draped with intricate lace, forming a single whimsical structure that remains rooted in history. With its exploration of the relationship between the body and public space, the work recalls Urban Light (2008), Burden’s site-specific installation of over two hundred antique streetlamps at the Los Angeles County Museum of Art that has become a landmark for the city as a whole. The Hidden Force (1995)—a little-known sculptural installation originally commissioned by the Washington State Arts Commission in 1993 for the now-demolished McNeil Island Corrections Center—will be re-created for the first time by the Burden Estate. For the original work, Burden installed three shallow circular concrete pools in a green space near the penitentiary’s cellblocks. Each pool was equipped with a floating elliptical object containing a magnet at one end, effectively creating a trio of outsize compasses that point north. Visually understated yet powerfully symbolic in its purpose and design, the work hints at the unseen forces that guide individuals toward the “right way. ”The presentation anticipates the publication of Poetic Practical: The Unrealized Work of Chris Burden, a comprehensive illustrated volume published by Gagosian that will catalogue Burden’s various unfinished works of art. Chris Burden was born in 1946 in Boston, and died in 2015 in Topanga, California. Collections include the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Instituto Inhotim, Brumadinho, Brazil; Tate, London; Museum of Applied Arts, Vienna; and 21st Century Museum of Contemporary Art, Kanazawa, Japan. Exhibitions include A Twenty-Year Survey, Orange County Museum of Art, Newport Beach, CA (1988, traveled to Carnegie Mellon University Art Gallery, Pittsburgh; and Institute of Contemporary Art, Boston, through 1989); When Robots Rule: The Two-Minute Airplane Factory, Tate Britain, London (1999); Tower of Power, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2002); Beam Drop Antwerp, Middelheim Museum, Antwerp, Belgium (2009); Three Ghost Ships, Portland Art Museum, OR (2011–12); Extreme Measures, New Museum, New York (2013–14); The Master Builder, Rose Art Museum, Brandeis University, Waltham, MA (2014); and Ode to Santos Dumont, Los Angeles County Museum of Art (2015). _____ Chris Burden, The Hidden Force, 1995, concrete, aluminum, magnets, and water, in 3 parts, each: 36 × 108 × 108 inches (91.4 × 274.3 × 274.3 cm), installation view, McNeil Island Corrections Center, Washington (commissioned by the Washington State Arts Commission in 1993, decommissioned in 2011) © Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

#Chris Burden #Gagosian Online #Gagosian

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uniqueartisanconnoisseur · 3 years

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Culture in Decatur AL

We took a tour of the murals and agritourism in Decatur, Alabama, but what about the cultural sites in town? There are a lot of cool places with art, history and culture to stop at in this historic town. We spent three nights, and immersed ourselves in the City. Hosted by the Decatur Morgan County CVB, I want to share what we saw! The Old State Bank After the Civil War, the Old State Bank was…

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#agritourism #Alamo #Battle of Decatur #Carnegie Visual Arts Center #Culture #Decatur Historic Depot & Railroad Museum #Judge Breland #Kale the sea turtle #President James Monroe #Princess Theatre #Stephen Decatur #Tara Long #The Old State Bank

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blackkudos · 4 years

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Elizabeth Catlett

Elizabeth Catlett (April 15, 1915 – April 2, 2012) was an American and Mexican graphic artist and sculptor best known for her depictions of the African-American experience in the 20th century, which often focused on the female experience. She was born and raised in Washington, D.C. to parents working in education, and was the grandchild of freed slaves. It was difficult for a black woman in this time to pursue a career as a working artist. Catlett devoted much of her career to teaching. However, a fellowship awarded to her in 1946 allowed her to travel to Mexico City, where she worked with the Taller de Gráfica Popular for twenty years and became head of the sculpture department for the Escuela Nacional de Artes Plásticas. In the 1950s, her main means of artistic expression shifted from print to sculpture, though she never gave up the former.

Her work is a mixture of abstract and figurative in the Modernist tradition, with influence from African and Mexican art traditions. According to the artist, the main purpose of her work is to convey social messages rather than pure aesthetics. Her work is heavily studied by art students looking to depict race, gender and class issues. During her lifetime, Catlett received many awards and recognitions, including membership in the Salón de la Plástica Mexicana, the Art Institute of Chicago Legends and Legacy Award, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture.

Early life

Catlett was born and raised in Washington, D.C. Both her mother and father were the children of freed slaves, and her grandmother told her stories about the capture of their people in Africa and the hardships of plantation life. Catlett was the youngest of three children. Both of her parents worked in education; her mother was a truant officer and her father taught at Tuskegee University, the then D.C. public school system. Her father died before she was born, leaving her mother to hold several jobs to support the household.

Catlett's interest in art began early. As a child she became fascinated by a wood carving of a bird that her father made. In high school, she studied art with a descendant of Frederick Douglass.

Education

Catlett completed her undergraduate studies at Howard University, graduating cum laude, although it was not her first choice. She was also admitted into the Carnegie Institute of Technology but was refused admission when the school discovered she was black. However, in 2007, as Cathy Shannon of E&S Gallery was giving a talk to a youth group at the August Wilson Center for African American Culture in Pittsburgh, PA, she recounted Catlett's tie to Pittsburgh because of this injustice. An administrator with Carnegie Mellon University was in the audience and heard the story for the first time. She immediately told the story to the school's president, Jared Leigh Cohon, who was also unaware and deeply appalled that such a thing had happened. In 2008, President Cohon presented Catlett with an honorary Doctorate degree and a one-woman show of her art was presented by E&S Gallery at The Regina Gouger Miller Gallery on the campus of Carnegie Mellon University.

At Howard University, Catlett's professors included artist Lois Mailou Jones and philosopher Alain Locke. She also came to know artists James Herring, James Wells, and future art historian James A. Porter. Her tuition was paid for by her mother's savings and scholarships that the artist earned, and she graduated with honors in 1937. At the time, the idea of a career as an artist was far-fetched for a black woman, so she completed her undergraduate studies with the aim of being a teacher. After graduation, she moved to her mother's hometown of Durham, NC to teach high school.

Catlett became interested in the work of landscape artist Grant Wood, so she entered the graduate program of the University of Iowa where he taught. There, she studied drawing and painting with Wood, as well as sculpture with Harry Edward Stinson. Wood advised her to depict images of what she knew best, so Catlett began sculpting images of African-American women and children. However, despite being accepted to the school, she was not permitted to stay in the dormitories, therefore she rented a room off-campus. One of her roommates was future novelist and poet Margaret Walker. Catlett graduated in 1940, one of three to earn the first masters in fine arts from the university, and the first African-American woman to receive the degree.

After Iowa, Catlett moved to New Orleans to work at Dillard University, spending the summer breaks in Chicago. During her summers, she studied ceramics at the Art Institute of Chicago and lithography at the South Side Community Art Center. In Chicago, she also met her first husband, artist Charles Wilbert White. The couple married in 1941. In 1942, the couple moved to New York, where Catlett taught adult education classes at the George Washington Carver School in Harlem. She also studied lithography at the Art Students League of New York, and received private instruction from Russian sculptor Ossip Zadkine, who urged her to add abstract elements to her figurative work. During her time in New York, she met intellectuals and artists such as Gwendolyn Bennett, W. E. B. Dubois, Ralph Ellison, Langston Hughes, Jacob Lawrence, Aaron Douglas, and Paul Robeson.

In 1946, Catlett received a Rosenwald Fund Fellowship to travel with her husband to Mexico and study. She accepted the grant in part because at the time American art was trending toward the abstract while she was interested in art related to social themes. Shortly after moving to Mexico that same year, Catlett divorced White. In 1947, she entered the Taller de Gráfica Popular, a workshop dedicated to prints promoting leftist social causes and education. There she met printmaker and muralist Francisco Mora, whom she married later that same year. The couple had three children, all of whom developed careers in the arts: Francisco in jazz music, Juan Mora Catlett in filmmaking, and David in the visual arts. The last worked as his mother's assistant, performing the more labor intensive aspects of sculpting when she was no longer able. In 1948, she entered the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" to study wood sculpture with José L. Ruíz and ceramic sculpture with Francisco Zúñiga. During this time in Mexico, she became more serious about her art and more dedicated to the work it demanded. She also met Diego Rivera, Frida Kahlo, and David Alfaro Siqueiros.

In 2006, Kathleen Edwards, the curator of European and American art, visited Catlett in Cuernavaca, Mexico and purchased a group of 27 prints for the University of Iowa Museum of Art (UIMA). Catlett donated this money to the University of Iowa Foundation in order to fund the Elizabeth Catlett Mora Scholarship Fund, which supports African-American and Latino students studying printmaking. Elizabeth Catlett Residence Hall on the University of Iowa campus is named in her honor.

Activism

Catlett worked with the Taller de Gráfica Popular (TGP) from 1946 until 1966. However, because some of the members were also Communist Party members, and because of her own activism regarding a railroad strike in Mexico City had led to an arrest in 1949, Catlett came under surveillance by the United States Embassy. Eventually, she was barred from entering the United States and declared an "undesirable alien." She was unable to return home to visit her ill mother before she died. In 1962, she renounced her American citizenship and became a Mexican citizen.

In 1971, after a letter-writing campaign to the State Department by colleagues and friends, she was issued a special permit to attend an exhibition of her work at the Studio Museum in Harlem.

Later years

After retiring from her teaching position at the Escuela Nacional de Artes Plásticas, Catlett moved to the city of Cuernavaca, Morelos in 1975. In 1983, she and Mora purchased an apartment in Battery Park City, NY. The couple spent part of the year there together from 1983 until Mora's death in 2002. Catlett regained her American citizenship in 2002.

Catlett remained an active artist until her death. The artist died peacefully in her sleep at her studio home in Cuernavaca on April 2, 2012, at the age of 96. She is survived by her 3 sons, 10 grandchildren, and 6 great-grandchildren.

Career

Very early in her career, Catlett accepted a Public Works of Art Project assignment with the federal government for unemployed artists during the 1930s. However, she was fired for lack of initiative, very likely due to immaturity. The experience gave her exposure to the socially-themed work of Diego Rivera and Miguel Covarrubias.

Much of her career was spent teaching, as her original intention was to be an art teacher. After receiving her undergraduate degree, her first teaching position was in the Durham, NC school system. However, she became very dissatisfied with the position because black teachers were paid less. Along with Thurgood Marshall, she participated in an unsuccessful campaign to gain equal pay. After graduate school, she accepted a position at Dillard University in New Orleans in the 1940s. There, she arranged a special trip to the Delgado Museum of Art to see the Picasso exhibit. As the museum was closed to black people at the time, the group went on a day it was closed to the public. She eventually went on to chair the art department at Dillard. Her next teaching position was with the George Washington Carver School, a community alternative school in Harlem, where she taught art and other cultural subjects to workers enrolled in night classes. Her last major teaching position was with the Escuela Nacional de Artes Plásticas at the National Autonomous University of Mexico (UNAM), starting in 1958, where she was the first female professor of sculpture. One year later, she was appointed the head of the sculpture department despite protests that she was a woman and a foreigner. She remained with the school until her retirement in 1975.

When she moved to Mexico, Catlett's first work as an artist was with the Taller de Gráfica Popular (TGP), a famous workshop in Mexico City dedicated to graphic arts promoting leftist political causes, social issues, and education. At the TGP, she and other artists created a series of linoleum cuts featuring prominent black figures, as well as posters, leaflets, illustrations for textbooks, and materials to promote literacy in Mexico. Catlett’s immersion into the TGP was crucial for her appreciation and comprehension of the signification of “mestizaje”, a blending of Indigenous, Spanish and African antecedents in Mexico, which was a parallel reality to the African American experiences. She remained with the workshop for twenty years, leaving in 1966. Her posters of Harriet Tubman, Angela Davis, Malcolm X and other figures were widely distributed.

Although she had an individual exhibition of her work in 1948 in Washington, D.C., her work did not begin to be shown regularly until the 1960s and 1970s, almost entirely in the United States, where it drew interest because of social movements such as the Black Arts Movement and feminism. While many of these exhibitions were collective, Catlett had over fifty individual exhibitions of her work during her lifetime. Other important individual exhibitions include Escuela Nacional de Arte Pláticas of UNAM in 1962, Museo de Arte Moderno in 1970, Los Angeles in 1971, the Studio Museum in Harlem in New York in 1971, Washington, D.C. in 1972, Howard University in 1972, Los Angeles County Museum of Art in 1976, Miller Gallery at Carnegie Mellon University in 2008, and the 2011 individual show at the Bronx Museum. From 1993 to 2009, her work was regularly on display at the June Kelly Gallery.

Catlett's work can be found in major collections such as those of the Museum of Modern Art, Metropolitan Museum of Art, Library of Congress, Minneapolis Institute of Arts, National Museum in Prague, the Toledo Museum of Art, the Clark Atlanta University Art Galleries, the Palacio de Bellas Artes in Mexico, the Instituto Politécnico Nacional, Carnegie Mellon University, the University of Iowa, the June Kelly Gallery and the Schomburg Center for Research in Black Culture in New York.

The Legacy Museum, which opened on April 26, 2018, displays and dramatizes the history of slavery and racism in America, and features artwork by Catlett and others.

Awards and recognition

During Catlett's lifetime she received numerous awards and recognitions. These include First Prize at the 1940 American Negro Exposition in Chicago, induction into the Salón de la Plástica Mexicana in 1956, the Distinguished Alumni Award from the University of Iowa in 1996, a 1998 50-year traveling retrospective of her work sponsored by the Newberger Museum of Art at Purchase College, a NAACP Image Award in 2009, and a joint tribute after her death held by the Salón de la Plástica Mexicana and the Instituto Politécnico Nacional in 2013. Others include an award from the Women's Caucus for Art, the Art Institute of Chicago Legends and Legacy Award, Elizabeth Catlett Week in Berkeley, Elizabeth Catlett Day in Cleveland, honorary citizenship of New Orleans, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture. The Taller de Gráfica Popular won an international peace prize in part because of her achievements . She received a Candace Award from the National Coalition of 100 Black Women in 1991.

Art historian Melanie Herzog has called Catlett "the foremost African American woman artist of her generation." By the end of her career, her works, especially her sculptures, sold for tens of thousands of dollars.

In 2017, Catlett's alma mater, the University of Iowa, opened a new residence hall that bears her name.

Catlett was the subject of an episode of the BBC Radio 4 series An Alternative History of Art, presented by Naomi Beckwith and broadcast on March 6, 2018.

Artistry

Catlett is recognized primarily for sculpting and print work. Her sculptures are known for being provocative, but her prints are more widely recognized, mostly because of her work with the Taller de Gráfica Popular. Although she never left printmaking, starting in the 1950s, she shifted primarily to sculpture. Her print work consisted mainly of woodcuts and linocuts, while her sculptures were composed of a variety of materials, such as clay, cedar, mahogany, eucalyptus, marble, limestone, onyx, bronze, and Mexican stone (cantera). She often recreated the same piece in several different media. Sculptures ranged in size and scope from small wood figures inches high to others several feet tall to monumental works for public squares and gardens. This latter category includes a 10.5-foot sculpture of Louis Armstrong in New Orleans and a 7.5-foot work depicting Sojourner Truth in Sacramento.

Much of her work is realistic and highly stylized two- or three-dimensional figures, applying the Modernist principles (such as organic abstraction to create a simplified iconography to display human emotions) of Henry Moore, Constantin Brancusi and Ossip Zadkine to popular and easily recognized imagery. Other major influences include African and pre-Hispanic Mexican art traditions. Her works do not explore individual personalities, not even those of historical figures; instead, they convey abstracted and generalized ideas and feelings. Her imagery arises from a scrupulously honest dialogue with herself on her life and perceptions, and between herself and "the other", that is, contemporary society's beliefs and practices of racism, classism and sexism. Many young artists study her work as a model for themes relating to gender, race and class, but she is relatively unknown to the general public.

Her work revolved around themes such as social injustice, the human condition, historical figures, women and the relationship between mother and child. These themes were specifically related to the African-American experience in the 20th century with some influence from Mexican reality. This focus began while she was at the University of Iowa, where she was encouraged to depict what she knew best. Her thesis was the sculpture Mother and Child (1939), which won first prize at the American Negro Exposition in Chicago in 1940.

Her subjects range from sensitive maternal images to confrontational symbols of Black Power, and portraits of Martin Luther King, Jr., Malcolm X, Harriet Tubman, Rosa Parks, and writer Phyllis Wheatley, as she believed that art can play a role in the construction of transnational and ethnic identity. Her best-known works depict black women as strong and maternal. The women are voluptuous, with broad hips and shoulders, in positions of power and confidence, often with torsos thrust forward to show attitude. Faces tend to be mask-like, generally upturned. Mother and Child (1939) shows a young woman with very short hair and features similar to that of a Gabon mask. A late work Bather (2009) has a similar subject flexing her triceps. Her linocut series The Black Woman Speaks, is among the first graphic series in Western art to depict the image of the American black woman as a heroic and complex human being. Her work was influenced by the Harlem Renaissance movement and the Chicago Black Renaissance in the 1940s and reinforced in the 1960s and 1970s with the influence of the Black Power, Black Arts Movement and feminism. With artists like Lois Jones, she helped to create what critic Freida High Tesfagiorgis called an "Afrofemcentrist" analytic.

The Taller de Gráfica Popular pushed her to adapt her work to reach the broadest possible audience, which generally meant balancing abstraction with figurative images. She stated of her time at the TGP, "I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful."

Critic Michasel Brenson noted the "fluid, sensual surfaces" of her sculptures, which he said "seem to welcome not just the embrace of light but also the caress of the viewer's hand." Ken Johnson said that Ms. Catlett "gives wood and stone a melting, almost erotic luminosity." But he also criticized the iconography as "generic and clichéd."

However, Catlett was more concerned in the social messages of her work than in pure aesthetics. "I have always wanted my art to service my people – to reflect us, to relate to us, to stimulate us, to make us aware of our potential." She was a feminist and an activist before these movements took shape, pursuing a career in art despite segregation and the lack of female role models. "I don't think art can change things," Catlett said: "I think writing can do more. But art can prepare people for change, it can be educational and persuasive in people's thinking."

Catlett also acknowledged her artistic contributions as influencing younger black women. She relayed that being a black woman sculptor "before was unthinkable. ... There were very few black women sculptors – maybe five or six – and they all have very tough circumstances to overcome. You can be black, a woman, a sculptor, a print-maker, a teacher, a mother, a grandmother, and keep a house. It takes a lot of doing, but you can do it. All you have to do is decide to do it."

Artist statements

No other field is closed to those who are not white and male as is the visual arts. After I decided to be an artist, the first thing I had to believe was that I, a black woman, could penetrate the art scene, and that, further, I could do so without sacrificing one iota of my blackness or my femaleness or my humanity.

"Art for me must develop from a necessity within my people. It must answer a question, or wake somebody up, or give a shove in the right direction — our liberation."

Selected works

Students Aspire

"For My People" portfolio, published 1992 by Limited Editions Club, New York

"Ralph Ellison Memorial", Manhattan

"Torso", created in 1985, is a carving in mahogany modeled after another of Catlett's pieces, Pensive (b. 1946) a bronze sculpture. The mahogany carving is in the York College, CUNY Fine Art Collection (dimensions: 35' H x 19' W x 16' D). The exaggerated arms and breasts are prominent features of this piece. The crossed arms are broad, with simple geometric shapes and ripples to indicate a shirt with rolled-up sleeves, along with a gentle ridge along the neck. The hands are carved larger than what would be in proportion to the torso. The figure's eyes are painted with a calm, yet steady gaze that signifies confidence. Catlett evokes a strong, working-class black woman similar to her other pieces that she created to portray women's empowerment through expressive poses. Catlett favored materials such as cedar and mahogany because these materials naturally depict brown skin.

Selected collections

Miami-Dade Public Library System, Miami-Dade County, FL

Minneapolis Institute of Art, Minneapolis, MN

Detroit Institute of Arts, Detroit, MI

#04/15 #04/02

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theancientgeekoroman · 6 years

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Master List of Museums with Greek, Roman, Egyptian, and/or Near Eastern Antiquities in the United States of America

These collections may not be extensive or on display (and may contain only one culture from the above list), and I am including museums with minimal collections as well; please check with the museum before you visit or check their collections search online if the object(s) you wish to see is/are on view.

Feel free to message me if I’ve missed a museum! I’ll be constantly updating this post. (Initial Post: October 16, 2018; First Update: October 16, 2018, 2:18 p.m. Pacific; Second Update: October 16, 2018, 7:15 p.m. Pacific; Third Update: October 17, 2018, 6:29 p.m.; Fourth Update: October 21, 2018, 10:36 p.m.; Fifth Update: November 4, 2018, 9:06 a.m.; Sixth Update: June 1, 2019, 8:55 a.m.)

Alabama:

Anniston Museum of Natural History (Anniston, AL)

Birmingham Museum of Art (Birmingham, AL)

California:

Badè Museum of Biblical Archaeology (Berkeley, CA)

Iris & B. Gerald Cantor Center for Visual Arts at Stanford University (Stanford, CA)

J. Paul Getty Museum ("the Getty" which includes the Getty Center and the Getty Villa) (Los Angeles, CA)

Los Angeles County Museum of Art (Los Angeles, CA)

Phoebe A. Hearst Museum of Anthropology at the University of California, Berkeley (Berkeley, CA)

Robert and Frances Fullerton Museum of Art (RAFFMA) at the California State University, San Bernardino (San Bernardino, CA)

Rosicrucian Egyptian Museum (REM) (San José, CA)

San Diego Museum of Man (San Diego, CA)

Santa Barbara Museum of Art (Santa Barbara, CA) (Collection for Greek and Roman Art not on view, but can be found in Collections Search)

Colorado:

Denver Museum of Nature & Science (Denver, CO)

University of Colorado Boulder Art Museum (Boulder, CO)

Florida:

The John & Mable Ringling Museum of Art at Florida State University (Sarasota, FL)

Lowe Art Museum at the University of Miami (Coral Gables, FL)

Museum of Dinosaurs and Ancient Cultures (Cocoa Beach, FL)

Museum of Fine Arts, St. Petersburg (St. Petersburg, FL)

Tampa Museum of Art (Tampa, FL)

Georgia:

Michael C. Carlos Museum at Emory University (Atlanta, GA)

Illinois:

The Art Institute of Chicago (Chicago, IL)

The Field Museum (Chicago, IL)

The Oriental Institute at the University of Chicago (Chicago, IL)

Spurlock Museum of World Cultures at University of Illinois, Urbana-Champaign (Urbana, IL)

Krannert Art Museum at the University of Illinois, Urbana-Champaign (Champaign, IL)

Indiana:

Eskenazi Museum of Art at Indiana University (Bloomington, IN)

Gustav Jeeninga Museum of Bible & Near Eastern Studies at Anderson University (Anderson, IN)

Kansas:

Museum of World Treasures (Wichita, KS)

Maryland:

Baltimore Museum of Art (Baltimore, MD)

John Hopkins Archaeological Museum (Baltimore, MD)

Walters Art Museum (Baltimore, MD)

Massachusetts:

Arthur M. Sackler Museum at Harvard University (Cambridge, MA)

Berkshire Museum (Pittsfield, MA)

Fitchburg Art Museum (Fitchburg, MA)

The Harvard Semitic Museum (Cambridge, MA)

Museum of Fine Arts, Boston (Boston, MA)

The New Bedford Museum of Glass (New Bedford, MA)

Peabody Museum of Archaeology and Ethnology at Harvard University (Cambridge, MA)

Worcester Art Museum (Worcester, MA)

Michigan:

Institute of Archaeology & Siegfried H. Horn Museum at Andrews University (Berrien Springs, MI)

Detroit Institute of Arts (Detroit, MI)

Kelsey Museum of Archaeology at the University of Michigan (Ann Arbor, MI)

Minnesota:

Minneapolis Institute of Art (Minneapolis, MN)

Mississippi:

The Lois Dowdle Cobb Museum of Archaeology at Mississippi State University (Mississippi State, MS)

The University of Mississippi Museum (Oxford, MS)

Missouri:

Museum of Art and Archaeology at the University of Missouri (Columbia, MO)

Nelson-Atkins Museum of Art (Kansas City, MO)

Saint Louis Art Museum (St. Louis, MO)

Nevada:

Las Vegas Natural History Museum (Las Vegas, NV) (Note: the artifacts are replicas of the tomb of Tutankhamun and other Egyptian antiquities and are one of only two sets that were authorized by the Egyptian Ministry of Antiquities)

New Hampshire:

Hood Museum of Art at Dartmouth College (Hanover, NH)

New Jersey:

Newark Museum (Newark, NJ)

Princeton University Art Museum (Princeton, NJ)

New York:

The Brooklyn Museum (Brooklyn, NY)

Memorial Art Gallery at the University of Rochester (Rochester, NY)

Metropolitan Museum of Art (New York, NY)

The Morgan Library & Museum (New York, NY)

Museum of Greek, Etruscan and Roman Art in the William D. Walsh Family Library at Fordham University (New York, NY)

Onassis Cultural Center (New York, NY) (Note: exhibitions vary but may contain art from Ancient Greece)

Steinberg Museum of Art at Long Island University (Brookville, NY)

North Carolina:

Ackland Art Museum at the University of North Carolina at Chapel Hill (Chapel Hill, NC)

Gregg Museum of Art & Design at North Carolina State University (Raleigh, NC)

Nasher Museum of Art at Duke University (Durham, NC)

North Carolina Museum of Art (Raleigh, NC)

Ohio:

Cincinnati Art Museum (Cincinnati, OH)

Cleveland Museum of Art (Cleveland, OH)

Museum of Classical Archaeology at Ohio State University (Columbus, OH)

Museum of Natural History & Science (Cincinnati, OH)

Toledo Museum of Art (Toledo, OH)

Oklahoma:

Mabee-Gerrer Museum of Art (Shawnee, OK)

Oregon:

Hallie Ford Museum of Art at Willamette University (Salem, OR)

Prewitt–Allen Archaeological Museum at Corban University (Salem, OR)

Pennsylvania:

Barnes Foundation (Philadelphia, PA)

Carnegie Museum of Natural History (Pittsburgh, PA)

Kelso Museum of Near Eastern Archaeology at the Pittsburg Theological Seminary (Pittsburgh, PA)

Reading Public Museum (West Reading, PA)

University of Pennsylvania Museum of Archaeology and Anthropology (Philadelphia, PA)

Rhode Island:

Rhode Island School of Design Museum (Providence, RI)

Tennessee:

Art Museum of the University of Memphis (Memphis, TN)

Lynn H. Wood Archaeological Museum at Southern Adventist University (Collegedale, TN)

McClung Museum of Natural History and Culture at the University of Tennessee (Knoxville, TN)

The Parthenon (Nashville, TN) (Note: the Parthenon is more like a building of art itself as it’s a replica and the art in its galleries are not from the ancient world)

Texas:

Dallas Museum of Art (Dallas, TX)

The Houston Museum of Natural Science (Houston, TX)

Kimbell Art Museum (Forth Worth, TX)

The Museum of Fine Arts, Houston (Houston, TX)

San Antonio Museum of Art (San Antonio, TX)

Utah:

Utah Museum of Fine Arts (Salt Lake City, UT)

Utah State University Museum of Anthropology (Logan, UT)

Vermont:

Fleming Museum of Art at the University of Vermont (Burlington, VT)

Middlebury College Museum of Art (Middlebury, VT)

Virginia:

Chrysler Museum of Art (Norfolk, VA)

Virginia Museum of Fine Arts (Richmond, VA)

Washington:

Seattle Art Museum (Seattle, WA)

Washington, D.C.:

Freer Gallery of Art (Washington, D.C.)

West Virginia:

Huntington Museum of Art (Huntington, WV)

Wisconsin:

Logan Museum of Anthropology at Beloit College (St. Beloit, WI)

Milwaukee Art Museum (Milwaukee, WI)

#museum #museums #United States #United States of America #America #USA #U.S.A.#ancient art #ancient Greece #ancient Egypt #ancient Rome #ancient Near East #ancient history #ancient artifacts #archaeology #Classical archaeology #Near Eastern archaeology #long post

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giarts · 4 years

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Art in the Time of Coronavirus: NYC's small arts organizations fighting for survival

Submitted by admin on April 17, 2020

Abigail Savitch-Lew, Eli Dvorkin, and Laird Gallagher

Center for an Urban Future (CUF) is an independent, nonprofit think tank that generates innovative policies to create jobs, reduce inequality and help lower income New Yorkers climb into the middle class.

New York City’s vibrant arts and cultural sector has endured extraordinary challenges over the past several weeks. In an effort to contain the spread of the novel coronavirus, the city’s thousands of independent theatres, nightclubs, galleries, and performance venues have gone dark, and countless arts organizations have been forced to cancel nearly every event, opening, workshop, and public program on their calendars. For these organizations—and the many working artists employed by them—the economic impact of this mandatory shutdown is unlike any in recent memory.

The city is just beginning to grapple with the scale of the crisis in the arts. While some major institutions including the Met Museum, MoMA, the Whitney Museum, Carnegie Hall, and the New Museum have projected stunning financial losses—accompanied in some cases by furloughs and layoffs—much less is known about the full consequences of the pandemic on the city’s small and mid-sized arts organizations and on working artists themselves.

To better understand the existential threat faced by the city’s smaller theatres, concert halls, museums, nightlife venues, and community cultural hubs, as well as artists themselves, we reached out to over two dozen arts organizations and individuals. In candid and often emotional interviews, community arts leaders described growing fears for their organizations’ survival.

We heard from the leaders of arts groups and institutions across all five boroughs including the Tenement Museum, Brooklyn Conservatory of Music, Nuyorican Poets Cafe, Flushing Town Hall, BAAD! Bronx Academy of Art and Dance, and the Staten Island Children’s Museum; from independent music promoters like AdHoc Presents and theater companies including Black Spectrum and Keen Company; and directly from dancers, playwrights, and visual and performing artists whose lives and careers have been upended.

Our research found that nearly all small and mid-sized arts organizations are facing slashed budgets and reduced staffing, and many are teetering on the brink of insolvency. With their doors shuttered and all in-person events either cancelled or postponed, organizations and venues are losing months of revenue needed just to stay afloat. Many have been forced to lay off staff and consider indefinite closure.

Organizations that rely heavily on grants and donations do not know whether they’ll receive previously committed funding, and have lost the financial foundation provided by springtime fundraisers and galas. Although larger cultural institutions are also facing stunning losses, many smaller cultural groups don’t have the benefit of endowments or large donor bases to help cushion the blow as they experience staggering declines in earned revenue from cancelling performances, closing museums, calling off tours, and shutting down art classes.

Even the end of social distancing may not bring immediate relief. Many arts groups fear that the arts will be among the worst-hit sectors in the coming months of economic recession as the public pulls back on spending. And while some artists can continue their work from home and on virtual platforms, many others—particularly performing and ensemble artists who make their income from shows and tours—expect to be unemployed for the foreseeable future.

Read the key findings and profiles included in the Center for an Urban Future’s report that capture the state of emergency facing organizations and artists citywide.

Posted by admin on April 17, 2020 at 11:18AM. Read the full post.

#arts #philanthropy #nonprofit

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cooperhewitt · 4 years

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Remembering Dianne Pilgrim

The world of design has lost a great friend with the passing of Dianne Pilgrim (1941–2019), director emeritus of Cooper Hewitt, Smithsonian Design Museum. When Pilgrim joined the museum as director in 1988, she brought her deep scholarly knowledge of American design as well as her personal passion and advocacy for universal design. Diagnosed with multiple sclerosis at age thirty-eight, Pilgrim used a cane, Canadian crutches, and a wheelchair over the course of her life. She led an ambitious renovation of the Cooper Hewitt campus with James Stewart Polshek and Polshek Partnership Architects that showed the world how a cherished historic property could become a fully accessible public place. Cooper Hewitt trustee Agnes Bourne, who worked closely with Pilgrim on the renovation and other projects, recalls, “When the Smithsonian suggested that we didn’t need a design museum, Dianne got busy and raised the funds to not only keep it but to make it even better.”

When Cooper Hewitt unveiled the renovated Carnegie Mansion and adjoining townhouses and garden in 1997, the museum celebrated access along all fronts. Not only could every visitor enter the front door, but the entire collection became available to the public. The inaugural exhibition, designed by Stephen Doyle, depicted the museum as an open book overflowing with riches that anyone could view. Doyle recalls, “Dianne promoted the idea of the museum as a resource library, a repository of visual knowledge, a seed bank, even.” Facilities such as the Drue Heinz Study Center for Drawings & Prints welcome scholars, students, researchers, and members of the public to view original works by appointment. Today, Cooper Hewitt’s digitized online collection offers instant access around the globe, building on Pilgrim’s expansive vision of the museum as a resource. Caroline Baumann, Director of Cooper Hewitt since 2013, says, “Dianne powerfully advocated for accessibility and universal design, and she transformed Cooper Hewitt into an exemplar of historic buildings made accessible to all. She also established the National Design Awards, one of our most important and long-running programs. Her vision for the museum continues in our work today, as we achieve our strategic goal of accessibility and inclusion.”

The Office of Public Affairs in 1991 produced a new television public-service announcement to encourage visitors with physical disabilities to take advantage of the Smithsonian’s facilities. The PSA featured Dianne Pilgrim, seen here during the June filming in the Hirshhorn Sculpture Garden.

Pilgrim was especially interested in the history of design in the United States. In 1979, she co-authored The American Renaissance 1876-1917 while serving as curator of decorative arts at the Brooklyn Museum; this seminal book explores the artistic passions and symbolic aspirations that gave rise to buildings like the Carnegie Mansion. Pilgrim’s loving respect for the mansion’s heritage guided her through the renovation project.

Nancy Marks, Dianne Pilgrim, Caroline Baumann, and Barbara Mandel at the opening of the newly renovated Cooper Hewitt, Smithsonian Design Museum housed in the Carnegie mansion in New York City on December 12, 2014. Photo by Angela Jimenez.

In 1986, she co-authored The Machine Age in America, 1918–1941, also for the Brooklyn Museum. This stunning book and exhibition explored the consumer-driven design movement that revolutionized the American landscape with streamlined curves, setback buildings, and modular kitchens. Pilgrim studied designers who were little known at the time (and are much beloved to Cooper Hewitt), including Donald Deskey, Illonka Karasz, and Walter Dorwin Teague. Describing America in the 1930s, she wrote, “We were eager for the future. Despite the doomsayers most people felt that the machine could not help but make the world a better place. Most fascinating is the fact that the actual future was developing where anyone could see it.” Under Pilgrim’s direction, Cooper Hewitt organized original exhibitions throughout the 1990s celebrating such American design pioneers as Deskey, Henry Dreyfuss, Russel Wright, and Charles and Ray Eames. Today, the books published with these exhibitions remain definitive works of scholarship. Donald Albrecht, Curator of Special Projects at Cooper Hewitt from 1996 through 2003, recalls, “Dianne stayed true to a mission—a commitment to American design, both historical and contemporary, and the value its practitioners placed on improving people’s everyday lives through the places we live in and the things we use.”

Caroline Baumann and Dianne Pilgrim in attendance at the 2014 National Design Awards Gala.

Although Pilgrim was a brilliant historian, she kept her eye on the future. According to Susan Yelavich, who served as Assistant Director for Public Programs, 1994–2002, “Cooper Hewitt really took its place on the national stage when Dianne inaugurated the Design Triennial exhibition series.” Today, these projects continue to illuminate design’s role in preserving the planet, building a just society, and celebrating human creativity. Recent Cooper Hewitt exhibitions such as Access + Ability (2017–2018) and The Senses: Design Beyond Vision (2018) reflect Pilgrim’s enduring influence on how design shapes the human condition. Ellen Lupton, who became curator of contemporary design in 1992, recalls, “Dianne’s scholarship on the American machine age and her commitment to universal design continue to inspire curators as we explore technology, the body, and social life.”

Kay Allaire and Dianne Pilgrim.

Pilgrim built the museum’s education program into a national endeavor. According to Dorothy Dunn, director of education from 1989 through 2005, “She brought DESIGN and designers to the foreground of Cooper Hewitt’s mission. Under her leadership, the museum presented design as a verb, engaging youth and school audiences in the design process, often working directly with professional designers.” When Pilgrim left Cooper Hewitt in 2000, the museum had truly come of age and was ready to address the new millennium.

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#cooper hewitt #design conversations

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