Like many private education companies, Career Education has struggled with declining enrollment over the past few years and has been losing money. The company's 2014 revenue fell to $736.9 million from $834.1 million in the year prior, and its loss widened to $178.2 million from $164.3 million in 2013.Nationally enrollment has declined at for-profit universities, as well. “We're saddened,” said McCoy. “We are. We are happy to have been able to partner with Columbia College, and the underlying thing is we're not closing the door on our students.”
Posts tagged with "Graphic Design":
Mildred Friedman, the longtime design curator of Minneapolis' Walker Art Center and a prolific architectural author, died Wednesday at her home in New York City. She was 85. Friedman, whose friends called her “Mickey,” ran the Walker for 21 years with her husband, Martin, who was its director. Together they made it “America's leading design museum,” according to a tribute from Architectural Record on the occasion of the couple's “retirement” in 1990.
As the museum's design curator, Ms. Friedman also edited its publication, Design Quarterly, which she managed deftly, according to Andrew Blauvelt, the Walker’s senior curator of design, research, and publishing. "With its singular focus, generous reproductions, and smart design, it was decidedly not one of those dry and often poorly designed, peer-reviewed, academic journals,” wrote Blauvelt in a remembrance. “Although it’s been more than 20 years since DQ ceased publication, the void that it left has never been filled.”
Much of her work curating and editing Design Quarterly would spin off into publications. Friedman wrote or co-wrote dozens of books, including Graphic Design in America: A Visual Language History, the first large-scale museum survey of the field.
Since 1990, she and her husband had lived in New York City, where Ms. Friedman continued writing and curating at institutions including the Guggenheim Museum, the Canadian Centre for Architecture, and the Brooklyn Museum.
Under Friedman, shows at the Walker were not just shows but immersive experiences.
“In Mickey’s hands, a design show was never simply about a subject, but drew upon the principles and power of design itself to create a compelling experience,” wrote Blauvelt. “ This particular strategy of restaging, wherein visitors can not only look at works of art on view but also experience them directly and even viscerally, certainly drew upon Mickey’s skills and experience in interior design but also signaled a powerful new curatorial technique.”
Mickey was instrumental in defining the architectural landscape of the Twin Cities by connecting patrons to architects … She was the design maven of the Twin Cities for many years and she had a huge impact— huge.
Friedman's legacy is inextricably linked to those of many 20th century architects. Her 1986 exhibition of Frank Gehry's work bolstered the architect's career—a feat she replicated by championing the likes of Elizabeth Diller, Ricardo Scofidio, Tod Williams, Billie Tsien and César Pelli, whom she also helped win commissions in the region by suggesting them for local landmark projects.
Born Mildred Shenberg in 1929, Ms. Friedman grew up in California. She met Martin Friedman at UCLA, where her future husband was teaching drawing as a graduate student in art history and painting. They married in 1949.
In 1980 she started the Mildred S. Friedman Design Fellowship, a program to give recent design graduates experience in her design studio at the Walker Art Center.
Her survivors include her husband, three daughters, and six grandchildren.
Wolf-Gordon’s “Force of Nature” spirals through Chicago’s Merchandise Mart during NeoCon 2013.Based on the success of Wolf-Gordon’s inaugural NeoCon installation in 2012, chief creative officer Marybeth Shaw commissioned yet another show-stopping design piece for 2013. With the working title “Forces of Nature,” she turned once again to New York City–based design studio karlssonwilker and Brooklyn-based design-build collaborative The Guild to create a sculpture that would showcase the breadth of the company’s textiles and wall coverings. “The title ended up being quite appropriate to the final form, as the sculpture is a geometric construct with all of the resulting physical forces that might spin it out of the Mart’s ‘town square,’” Shaw recently told AN. Karlssonwilker initially conceived of a kinetic sculpture, but Shaw wanted a large installation—nearly 30 feet long and 14 feet wide. At that size, there was no room for movement within the given space, a double-height ceiling over an escalator that would carry 42,000 show attendees. “We wanted it to rotate like a rotisserie chicken, but we went for a larger form,” said Graham Kelman, creative manager for The Guild. Ultimately, the team decided on a static sculpture resembling a twisted spine that gives a sense of movement through color and form. “I lost sleep over whether it would fit because if there was flex in the spine, it wouldn’t work.” The designers worked in SketchUp and 3DS Max to develop layered parameters for 68 slats—the vertebrae along the spine—that would showcase 136 of Wolf-Gordon’s products, one on each side. As visitors ascend the escalator, the slats appear above them like a twisting array of fanned-out cards. The products were arranged by color, forming a gradient that goes from white to orange to red on the way up the escalator and purple to brown on the way down. The edge of each slat slopes one degree, adding to the sculpture’s twisting vortex appearance. Since the sculpture hangs above show goers, realizing the piece with light materials was paramount. The slats are made from foam sandwiched between two sheets of Masonite. An aluminum channel along the perimeter of each slat provides rigidity. A plywood box connects and spaces each slat. The team used the software’s parametric capabilities to calculate where to place screw holes in the boxes and slats to create the twisting geometry. The Guild fabricated the 68 slats and plywood boxes in Brooklyn with a CNC mill, flat-packed for transport to Chicago, and installed at the Mart over a period of three days. “In terms of installation, it went well but it was a strange structure with torsional forces acting on it,” Kelman said. “As we built, the twist revealed itself.” Aircraft cable was fastened strategically along the spine, which was ultimately affixed to a 32-foot-long box trough, securely attached to beams of the ceiling. The final result was another eye-catching surprise during NeoCon at the Merchandise Mart. “Lots of things can go wrong with these projects,” said Shaw. “But if you’re on the same page and trust your collaborator’s intentions, you’ll always find your way to a solution.”