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LIZ MUNSELL: Today we're inaugurating a sculpture by the Argentinian-born, London-based artist, Amalia Pica. It's called "Now, Speak!" It's a cast concrete lectern, that's a platform for the public's voice and for invited speakers today. Most of them are addressing civil rights issues through their speeches which they've chosen from history. The only requirement of the piece is that the speaker must choose a speech by somebody who has different physical characteristics from them. That way there's an element of displacement and interpretation of history over time.
PAMELA PARMAL: Color is essential to quilt making, and this exhibition really does explore that in many ways. It starts off really looking at different aspects of color theory; like color vibration, color mixtures, color gradation.
JENNIFER SWOPE: I think of the color wheel as a model or a diagram of all the colors we can see. The color wheel is really well designed for teaching about color, because it breaks things down into primary and secondary colors, and really shows you how colors combine, or the basic colors, what we call the primary colors, which are red, yellow, and blue, are combined to make the secondary colors, which are green, orange, and purple.
GERALD ROY: A very important quilt in the exhibit is the Yellow and White Baskets. Through my years of teaching color, yellow has always been probably the most difficult, not the most important, but the most difficult color to use. And it’s because the light refractive quality of yellow is greater than any of the other colors in the color wheel. Yellow green, yellow orange, orange, have strong, strong refractive qualities. But yellow has the greatest.
Conservation of an Egyptian minbar door, Mamluk period, 1382–98: December 2013
Conservation of an Egyptian minbar door, Mamluk period, 1382–98: February 2014
ELLIOT BOSTWICK DAVIS: This picture was one that we really designed much of level 1 around, it was so important to us. It had really not been on view consistently, and it had never been on view with its original frame before, because we really didn’t have the space. It’s virtually a life size portrait. But it’s something new. Sully here was quite innovative and showed a great deal of inspiration in creating what he called an ‘historical portrait.’