Leading Canned Wine Company Archer Roose Enlists Wine Veteran To Lead Product and Innovation
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BOSTON, Feb. 24, 2021 /PRNewswire/ Archer Roose, one of the leading canned wine companies in the U.S., announced today the appointment of Alicia Towns Franken as Vice President of the Wine Portfolio for the organization.
With over 25 years in the hospitality industry, Alicia Towns Franken has an extensive track record launching successful wine programs nationwide through her ongoing wine consulting work. Alicia also continues to participate in seminars, tastings and panel discussions in the wine industry around the country.
Had her life been more conventional, Lorraine O’Grady would have been, that Thursday in June 1980, at Wellesley College for her 25th class reunion.
Instead, she was donning a dress hand-stitched from 180 pairs of white gloves accessorized with a tiara, sash and cat-o’-nine-tails and heading to the gallery Just Above Midtown, to carry out a guerrilla-theater intervention.
O’Grady, a daughter of Jamaican immigrants in Boston, had a picaresque itinerary already. An economics graduate, she had worked for the Labor and State Departments, including as an intelligence analyst in the period leading up to the Cuban Missile Crisis; attempted a novel in Europe; dropped out of the Iowa Writers’ Workshop; run a translation agency in Chicago; been a New York rock critic. Two marriages, both brief, were over.
Lorraine OâGrady, Still Cutting Into the Culture
And at 86, the pioneering conceptual artist isnât done yet. Sheâs getting her first retrospective ever, at the Brooklyn Museum.
Lorraine OâGradyâs retrospective opens March 5 at the Brooklyn Museum. âIâm working on the skin of the culture and Iâm making incisions,â she says.Credit.Lelanie Foster for The New York Times
Feb. 19, 2021
Had her life been more conventional, Lorraine OâGrady would have been, that Thursday in June 1980, at Wellesley College for her 25th class reunion.
Instead, she was donning a dress hand-stitched from 180 pairs of white gloves â accessorized with a tiara, sash and cat-oâ-nine-tails â and heading to the gallery Just Above Midtown, to carry out a guerrilla-theater intervention.
In the mid-1960s, the renowned art historian Jules Prown was jeered. He was presenting new research at the annual meeting of the College Art Association, the principal professional art historical association. Prown had used a mainframe in the Yale University computer lab to examine links between the socio-economic backgrounds of American painter John Singleton Copley’s sitters and their preferences in portraiture. His first slide which showed an IBM punch card, then representative of cutting-edge computing technology prompted some colleagues to boo. [1] Recounting this experience, Prown recalled:
At first consideration, the art historian and the computer would seem to be eccentric companions. Art historians are concerned with qualitative discriminations that reveal themselves slowly…to the investigations of a trained mind and sensitive eye. The computer…deals with quantitative computations at an unvarying pace with incredible speed. Its monotonous, inflexible, unthinking effi