999 resultados para Chicago Tribune Tower


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"First edition."

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[photo of newspaper clipping from scrapbook, original not sharply focused)

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FOLLY brings together Irish and international contemporary artists whose work has been inspired by iconic buildings of architectural modernism. From Eileen Gray’s seminal E1027 to Mies Van der Rohe’s restored Farnsworth House, Paul Rudolph’s demolished residences to Walter Gropius’s imagined Chicago Tribune Tower, the buildings referenced in FOLLY have had a mixed collection of fates.

Their presence in this exhibition affords them another afterlife. The qualities that make the architecture significant are played-with, exposed, re-canonised, made ambiguous, and eulogised. By creating fictional moments, questioning conventional documentation or excavating troubled histories of production, each artist invites you to think about how we experience and understand architecture today.

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Als "maßlose" Kopie ist die zwischen 1774 und 1784 errichtete, gigantische "Ruine" einer dorischen Säule im französischen Landschaftsgarten Désert de Retz eine Ausnahmeerscheinung im Kontext der Kunst- und Gartendiskurse ihrer Entstehungszeit. Komplettiert hätte der Säulestumpf, in dem sich ein mehrgeschossiges Gartenhaus befindet, eine Höhe von einhundertzwanzig Metern. Doch gerade aus der Inszenierung einer übergroßen klassischen Ordnung als bewohnte Ruine erschließt sich die Bedeutung dieses ungewöhnlichen Bauwerks. Die Garten des Désert de Retz zog nicht allein die Surrealisten um André Breton in ihren Bann, die sich 1960 vor seinem Eingang zu einem Gruppenfoto versammelten. Eine eigentümliche Querverbindung besteht auch zu einem der bekanntesten Entwürfe von Adolf Loos, der 1922 für den Chicago-Tribune-Tower-Wettbewerb einen Wolkenkratzer in Gestalt einer riesigen dorischen Säule einreichte.

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Arthur Albert Schmon was born in 1895 in Newark, New Jersey. During his studies at Barringer High School in Newark, he met Eleanore Celeste Reynolds who was to become his wife in August of 1919. Mr. Schmon studied English literature at Princeton and graduated with honours in 1917. That same year, Mr. Schmon joined the United States Army where he served under Colonel McCormick as an adjutant in field artillery in World War I. In 1919, he was discharged as a captain. Colonel McCormick (editor and publisher of the Chicago Tribune) offered Schmon a job in his Shelter Bay pulpwood operations. Mr. Schmon accepted the challenge of working at this lonely outpost on the lower St. Lawrence River. Schmon was promoted to Woodlands Manager in 1923. In 1930, he became the General Manager. This was expected to be a seasonal operation but the construction of the mill led to the building of a town (Baie Comeau) and its power development. All of this was accomplished under Schmon’s leadership. In 1933, he was elected the President and General Manager of the Ontario Paper Company. He later became the Chairman and Chief Executive Officer. Arthur Schmon made his home in St. Catharines where he played an active role in the community. Schmon was a member of the Founders’ Committee at Brock University and he was a primary force behind the establishment of a University in the Niagara Region. The Brock University Tower is named after him. He also served as Chairman of the St. Catharines Hospital Board of Governors for over 15 years, and was responsible for guiding the hospital through a 3 million dollar expansion program. He was a Governor of Ridley College and an Honorary Governor of McMaster University in Hamilton. Mr. Schmon died of lung cancer on March 18, 1964. He had been named as the St. Catharines’ citizen of the year just one week earlier. Mr. Schmon had 2 sons Robert McCormick Schmon, who was chairman of the Ontario Paper Co. Ltd., St. Catharines, Canada, and the Q.N.S. Paper Co., Baie-Comeau, Canada. He was also director of a Chicago Tribune Co. He died at the age of 61. Another son, Richard R. Schmon, was a second lieutenant in the 313th Field Artillery Battalion, 80th Infantry Division in World War II. He was listed as missing in action on November 5, 1944.

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Description based on: 1924 rev. ed.; title from cover.

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Mode of access: Internet.

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Mode of access: Internet.

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"The various articles in this volume were written, on my return from Mexico, for the New York times, the Chicago tribune and other important newspapers in the United States."

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"Thompson's letters were first printed serially in the Chicago Tribune, from February 14 to February 21, 1915."

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La controversia ha acechado siempre a los museos, en especial, pero desde luego no de forma exclusiva, a aquellos museos de arte que exponen el arte moderno y contemporáneo. Probablemente siempre habrá controversias, ya que son ocasiones en las que el museo ha de enfrentarse directamente a un interrogatorio público sobre sus decisiones y procesos, a menudo demasiado ocultas y con frecuencia mal entendidas. Dado el creciente reconocimiento de que ya no es suficiente para los museos coleccionar, conservar y mostrar, sino más bien que los museos deben ahora comprometerse fundamental y directamente con sus comunidades, ¿cómo pueden los museos gestionar la controversia? ¿Pueden los museos aprender de la controversia para descubrir formas mejores de trabajar con sus públicos? Este artículo examinará tres controversias en los museos canadienses – Los cantos del espíritu, Voz de Fuego y Vanitas o El vestido de carne - en un intento de analizar estas preguntas usando los conceptos ANT de Bruno Latour.