DOCSLIB.ORG

Celebrations, Wishes and Hopes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Celebrations, Wishes and Hopes Lines from the LEAGUE Student and Alumni Newsletter Summer 2011 C and elebrations, H opes W ishes Letter from the Executive Director Lines from the League, the student and alumni newsletter, features the art, lives, and inspirations of our artists. This issue is dedicated to Mafalda Brasile Hicks and Clara Mirkin, two women who never met but who celebrated life through their families and art. Lines also acknowledges the wishes and hopes of our artists expressed through drawing, sculpture, and collage. We’ve briefly told the history of League printmakers in hope of inspiring you to help us fulfill our wish list. Lines from the League is more than just a newsletter, it is a link from us to you, a reminder of your artistic beginnings and hopes for the future. t turns out that next month will be ten years since I was appointed Executive Director, which feels like I a milestone by itself. I’ve been coming to the League on a daily basis for over 32 years and I have to say, I don’t know anyone more fortunate than I feel right now. My first encounter with the League came in September 1979. I had always loved art when I was growing up, and as a teenager I was very involved with photography. But when photography stopped feeding my passion, and a brief flirtation with acting offered no promise, I decided to go back to visual art and learn to draw. I signed up for Robert Beverly Hale’s Artistic Anatomy class, and I remember how clearly I realized I was in the right place—exactly where I was supposed to be. The next day when Mr. Hale showed up for his first lecture, I knew it was going to take a long time to understand what he was talking about. I made a personal commitment to study drawing for three years before I even picked up a paint brush. I was tending bar at night, taking drawing in the afternoons, and all was right with the world. The first fork in the road came in the fall of 1982. Seeing that bartending had no future, and knowing that any career as an artist was a long, long way off, I began looking for work. I asked League Executive Director Rosina Florio if there was any work available, and faster than I could ask the question, she said, “No.” So that was that. I started getting temporary office work during the day, while finally moving on to painting with David Leffel at the League at night. Then one day in November 1982, I came home to find a message from Rosina saying that she wanted me to come and work at the League. She wanted me to be the new bookkeeper. “Okay,” I said, “That would be great, but I need to tell you, I don’t know anything about bookkeeping.” “Don’t worry,” she said, “Just remember that one and one equals two, and you’ll be fine.” When Rosina passed away in 1996, key staff members were asked by the Board to handle day-to-day operations under their supervision. We got through that summer while undergoing an asbestos abate- ment of the building that had been scheduled months before. Classes were held at the Carnegie Hall studios across the street. Space will not permit a recounting of the next five years, but I can say it was one hell of a roller coaster ride until July 2001, when I was appointed Executive Director. As much as I had learned and understood about the League up to that point, everything that followed—every program launched, every word written about the organization—is the result of constant consultations with the League’s faculty, Board, staff, students, and members. My ability to assimilate the information they provide may be my strength, but it has been their experience I have acted upon. The most influential group, of course, has been the League’s faculty. It must be stated in the most declarative terms that the identity of the Art Students League lies within the faculty. They bring with them the knowledge of 25,000 years of art history that they convey to their students in the here and now. Visual art is a language with an intrinsic grammar and vocabulary. Our instructors, all masters of that language, bring their unique visual dialects and lifetimes of experience to their students. Free from academic or administrative curriculums, they teach with the same passion they bring to their art. As I’ve said, it’s been a fantastic journey. Part of the experience of being at the League is the awareness that art has no boundaries; that the more one understands process, design, and the possibilities and limita- tions of materials, the more one perseveres and allows oneself to fail in order to succeed. One learns to see and understand visual language no matter what aesthetic philosophy one adheres to, and realizes there are no limits to what can be accomplished. The truth is, we’re just getting started. Ira Goldberg Executive Director Lines from the LEAGUE Contents Student and Alumni Newsletter Mafalda Brasile Hicks: Former Student Bequests Her Skeleton to the League Summer 2011 Adapted by Julia Montepagani 4 In Celebration of Myself Editor at Large by Anne Richter 5 Denise L. Greene The Altar of Shame, Or, What Happens After the “Red Dot”? Editors by Renée Larson 6 Renée Larson Clara Mirkin: Wife, Mother, Artist—With a Scotch on the Rocks Julia Montepagani by Julia Montepagani 7 Design Director The Work of Artist Noa Shay Lilian R. Engel by Denise L. Greene 8 The Printmakers Designers Adapted by Denise L. Greene 10 Akihiro Ito Yuko Ueda On View: Mother India: The Goddees in Indian Painting 10 From the New World Director of Individual and Planned Giving by Liz Buckley 12 Denise L. Greene On View: Drawing in the Dark 12 [email protected] Thank You to League Donors 13 Director of Communications Submit Your Story: Love at the League 15 Ken Park [email protected] Lost and Found: A place for people to connect with people 15 Stay in E-Touch 15 Commentary Welcome Lines from the League: Student and Alumni Newsletter welcomes letters to the editor as well as comments, suggestions, Calendar of Fall Gallery Events and corrections. Send correspondence September 6–23 Instructors Exhibition by e-mail to [email protected]. Reception: September 8, 6–8 PM September 13 Lecture: Hans Hofmann Executive Director With Tina Dickey, 7 PM Ira Goldberg September 20 Presentation: Encaustic Art Board of Control With Deborah Winiarski, Salvatore Barbieri, President Joanne Mattera & Dr. Gail Stavitsky, 7 PM Gaile Snow Gibbs, Vice President October 1–28 30 Artists from 30 Years: Leonard Sirowitz, Vice President A Juried Exhibition of League Alumni Amir R. Hariri, Treasurer Reception: October 4, 6–8 PM Kathleen M. Cornelius José Feyjoo October 18 Lecture by Robert Kipniss Howard A. Friedman November 7–23 Grant Winners Exhibition Ludmila Schwarzenberg Hess Reception: November 8, 6–8 PM Winfield P. Jones November 15 Perspectives: Antonio Mancini Robert Laurie Ellen Taylor With Sharon Sprung & Pam Koob, 7 PM Te r e n c e D. W i l l i a m s December 5–23 Holiday Show and Sale Cover images are from recent Merit Scholarship winners and subjects in this issue; clockwise from top le!: Charlene Tarbox, Of the Earth Kimono, 2009, monotype with etching ink on Nepalese papers, 29½ x 45 inches Mafalda Brasile Hicks, Styrofoam sculpture, 15 feet tall John Parnell, Female Nude Leaning On Chair, 2010, charcoal, 18 x 24 inches Matthew White, Stephanie (le!), 2009, concrete, 66 x 30 x 30 inches; Raven (right), 2010, plaster, 78 x 36 x 24 inches plaster Shiho Sato, Dante (le!) and untitled (right), both: oil on panel, 20 x 16 inches Maya Hardin, Via della Fornacetta, 2008, 4-plate color etching, 18.75 x 15 inches, P"#$%&"&' C())"*'+(& (, T-" A#' S'./"&'0 L"%1." (, N"2 Y(#3 Lines !om the LEAGUE 3 Former Student Bequests Her Skeleton to the League Adapted by Julia Montepagani n March 2, 2010, the Art Students Living in California also gave Mafalda the O League lost former student and ac- extra opportunity to explore her maternal complished artist Mafalda Brasile Hicks; but Navajo ancestry. She often visited California’s beginning next year, Mafalda’s presence will Indian reservations, connecting with native once again grace the League. families and appreciating their art. These roots The Hicks family has generously donated and values were integral to Mafalda’s way of life Mafalda’s skeleton to the League, carrying and artistic creations. out her wish to serve as a model in future art classes. Her skeleton is currently under Mafalda’s Art study and preparation at the Anthropology Mafalda’s experience in various media and Department of Texas State University and will her love of children led her to teach clay-mod- be sent to the League next spring. eling classes to elementary students, as well as This article describes the fascinating design sets for children’s theater productions. story of Mafalda’s life, as well as the skel- She also used her painterly eye and experience eton donation process. This is the first such in the fiber arts to knit colorful clothing for her bequest to the school. The skeletons used in whole family. the classrooms are plastic molds purchased by At the age of 70 she began a new artistic or donated to the League. The League does phase: large-scale Styrofoam sculpting.
Load more

Recommended publications
  • Leaping Show Info
    ! ! ! ! ! ! ! ! ! ! ! WHAT IS THAT LEAPING IN YOUR CHEST? ! ____________________________________________________________________! ! ARTIST STATEMENTS! + BIOS ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Collar Works Gallery | Troy, NY | www.collarworks.org Susan Anthony !Troy Project, 2013 - ongoing, Archival Digital Prints, $200 ea. Troy, New York was one of the most prosperous cities in the United States during the Industrial Revolution, because of its proximity to the Hudson River, the Mohawk River and the Erie Canal. Troy suffered greatly when industry moved West and the economy has never really recovered. There are signs of change because of the community's resilience, but it is a slow, uphill battle. The story of Troy is one of suffering and sadness, but it is also one of hope and growth. My photographs depict the juxtaposition of past and present, old and new, !decay and rebirth in this remarkable historical city. Susan never planned to do this project. She visited Troy with a friend one day and fell in love with the city. She continued photographing on the street every other week until she met a Rabbi who introduced her to a number of Troy’s residents. Susan began photographing as many people who were interested, and each photo !shoot led to another. She’s been photographing in Troy for almost five years. !______________________________________________________________________________ Susan Anthony was born in Brooklyn, NY. Susan received her Bachelor’s Degree at Cooper Union, her Master’s Degree in Fine Arts at Berkeley, and a Master’s in Teaching Fine Art and Art Therapy at NYU and The New School. Many of her photographs are done in upstate New York, where she has a home in Columbia County, and in downtown Manhattan, where she has lived and worked for many years.
    [Show full text]
  • Joseph Hirsch Banquet 1945
    Joseph Hirsch Banquet 1945 Joseph Hirsch (American, 1910–1981) Banquet, 1945 Lithograph on beige wove paper Image: 9 3/4 x 13 3/4 inches Sheet: 12 x 15 7/8 inches Gift of Christopher Russell 2015.21.1 American artist Joseph Hirsch (1910–1981) emerged at Hirsch’s print comments on the state of the workplace in Hirsch created this print through the process of lithography—a printing process based on the fact that grease and water the forefront of the Social Realist art movement during the 1940s. Following the start of World War II, there was a do not mix. Invented in the late eighteenth century, lithography is a technique which involves drawing on a flat surface, the twentieth century, taking inspiration for his work from high demand for workers in war-related industries. However, traditionally limestone, with a greasy substance such as a crayon or a liquid called tusche. Once the image is completed everyday events and ordinary people. Born and raised in African Americans were often denied better-paying jobs and ready to print, the artist applies a chemical mixture on the surface of the stone to secure the image in place. Water is Philadelphia, Hirsch left to pursue art in New York City in and were discouraged from joining the military. In 1941, then applied to the surface, adhering to the non-greasy areas of the plate and allowing the artist to roll ink only onto the the early 1930s. This period, following the end of World labor and civil rights leader A. Philip Randolph (1889— image.
    [Show full text]
  • Gallery, May 8, 2015.Qxp
    THE GALLERY ț THE GALLERY ț THE GALLERY ț THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț SPRING 2015 2 - THE GALLERY May 8, 2015 — Antiques and The Arts Weekly THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY R. Scudder Smith, Executive Publisher & Editor Carol Sims, Gallery Editor Pamela Ashbahian, Production Director Tel.203-426-8036 or 426-3141 or Fax. 203-426-1394 www.AntiquesandTheArts.com email - [email protected] THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 Historic WWI Illustrations At Schoonover Studios BY JOHN SCHOONOVER were selected for the American Expeditionary Force in years, American aviation quickly responded with the CURATOR, SCHOONOVER STUDIOS, LTD Europe: George Harding, Harry Townsend, William formation of the American Expeditionary Force ( AEF As we enter the centennial years of World War I, we Aylward and Harvey Dunn. Of these, Dunn produced ). Although urgent plans called for manufacture of are reminded that many of the pictorial narratives of some of the most compelling illustrations as an imme- several thousand planes, bureaucratic delays hampered the events in Europe, 1914 to 1919, including war- diate observer of combat in the trenches. Ironically, production, forcing many AEF pilots to fly British and fare, appeared in various publications as illustrations. many of his paintings didn’t even reach the War French planes in the face of well-trained and dogged Notable among these illustrators were six students of Department until after the Armistice and initially were German pilots (The Bosche).
    [Show full text]
  • A Finding Aid to the Abraham Rattner and Esther Gentle Papers, 1891-1986, in the Archives of American Art
    A Finding Aid to the Abraham Rattner and Esther Gentle Papers, 1891-1986, in the Archives of American Art Wendy B. Bruton 1999 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 5 Arrangement..................................................................................................................... 7 Index: List of Major Correspondents in Various Series................................................... 7 Names and Subjects ...................................................................................................... 9 Container Listing ........................................................................................................... 11 Series 1: Biographical Files, 1893-1978, undated................................................. 11 Series 2: Interviews with Abraham Rattner, 1957-1975, undated.......................... 13 Series 3: Correspondence Files, 1933-1978, undated..........................................
    [Show full text]
  • Faces of the League Portraits from the Permanent Collection
    THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York.
    [Show full text]
  • Ebook Free Master Class in Figure Drawing
    Ebook Free Master Class In Figure Drawing “For decades, Hale's admirers throughout America have hoped that his lectures on drawing and anatomy would become available in book form. I am delighted that this moment has come at last. For this book is not only a permanent record of Hale's teachings, but the crowing achievement of a man who remains an unforgettable presence in the live of artists throughout America.â€Ââ€â€Philippe De Montebello, Director of the Metropolitan Museum of Art“Robert Beverly Hale is a beloved teacher. He is a tall, spare, somewhat rumpled patrician of seventy-six, with black-rimmed glasses and an El Greco face. He teaches two courses, Artistic Anatomy and Elements of Drawing, at the Art Students League, on West Fifty-seventh Street, and his classes are a continual, almost legendary, celebration not only of the beauty and wonder of the human form but of Hale himself. Many people consider Hale the foremost teacher of artistic anatomy in the country, and perhaps the world. His classes are always oversubscribed, and students return year after year. When Hale enters a lecture hall or a studio, his students burst into applause.â€Ââ€â€The New Yorker Profile, June 13, 1977 Paperback: 144 pages Publisher: Watson-Guptill Publications; Reprint edition (September 1, 1991) Language: English ISBN-10: 0823030148 ISBN-13: 978-0823030149 Product Dimensions: 10.2 x 7.3 x 0.4 inches Shipping Weight: 1 pounds Average Customer Review: 4.4 out of 5 stars 29 customer reviews Best Sellers Rank: #317,959 in Books (See Top 100 in Books) #108 in Books > Arts & Photography > Drawing > Specific Objects #218 in Books > Arts & Photography > Drawing > Figure Drawing #294 in Books > Arts & Photography > Study & Teaching Robert Beverly Hale was Curator Emeritus of the American Painting and Sculpture Department at the Metropolitan Museum of Art.
    [Show full text]
  • List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
    National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced.
    [Show full text]
  • Artists for Victory
    THE METROPOLITAN MUSEUM UF ART Artists for Victory M Sxhibition of Contemporary American Art PAINTINGS SCULPTURE PRINTS SPONSORED BY ARTISTS FOR VICTORY, INC ARTISTS FOR VICTORY, INC. 101 PARK AVENUE, NEW YORK, N. Y. Includes the Following Artists' Organizations: ALLIED ARTISTS OF AMERICA ALUMNI ASSOCIATION OF THE AMERICAN ACADEMY IN ROME AMERICAN ABSTRACT ARTISTS AMERICAN INSTITUTE OF DECORATORS AMERICAN SOCIETY OF MINIATURE PAINTERS AMERICAN VETERANS SOCIETY OF ARTISTS AMERICAN WATER COLOR SOCIETY AN AMERICAN GROUP, INC. ARCHITECTURAL LEAGUE OF NEW YORK BOMB SHELL ARTISTS GROUP FEDERATION OF MODERN PAINTERS AND SCULPTORS LEAGUE OF AMERICAN ARTISTS MUNICIPAL ART SOCIETY OF NEW YORK NATIONAL ACADEMY OF DESIGN NATIONAL ASSOCIATION OF WOMEN ARTISTS NATIONAL SCULPTURE SOCIETY NATIONAL SOCIETY OF MURAL PAINTERS NEW YORK CHAPTER OF THE AMERICAN ARTISTS PROFESSIONAL LEAGUE NEW YORK CHAPTER OF THE AMERICAN INSTITUTE OF ARCHITECTS NEW YORK CHAPTER OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS NEW YORK SOCIETY OF WOMEN ARTISTS PITTSBURGH ARTISTS FOR VICTORY SCULPTORS GUILD, INC. SOCIETY OF AMERICAN ETCHERS UNITED SCENIC ARTISTS THE METROPOLITAN MUSEUM OF ART Artists for Victory An Exhibition of Contemporary American Art SPONSORED BY ARTISTS FOR VICTORY, INC. NEW YORK, 1942 WO. \ FOREWORD HE present exhibition expresses a desire on the part of the Museum Tto proclaim its faith in the American artist during one of the most critical years in our history. We believed that the facilities of the Mu­ seum should be turned over to the artists to organize an exhibition as they themselves would want it done. Artists for Victory, Inc., the emergency wartime agency representing the twenty-three leading art societies in New York was asked to undertake the task.
    [Show full text]
  • Linesfrom the League
    FROM THE LEAGUE STUDENT AND ALUMNI MAGAZINE LINES SUMMER 2012 Letter from the Executive Director I was eight years old when my mother took me to the Frick Museum for the first time. I remember being struck by Vermeer’s Officer and Laughing Girl. It had magic, a life of its own. The girl’s smile was genuine. I wondered what he told her to cause her to react with such warmth. It made me feel good to see it. I didn’t know then that I wanted to be an artist. I thought that only extraordinary people could do anything like that and I am certainly not one of them. But I never forgot that painting or many of the other great masterpieces in that collection. Sixteen years after that first visit to the Frick, and many subsequent visits there and to New York’s other great museums, I decided to come to the League because I needed to find out if I could do it. I imagined the rewards of being able to “draw what I see” to be so enormous, and with the League so affordable, I had nothing to lose. That was 33 years ago. Today I look at that painting by Vermeer with an even greater sense of wonder. Now my fascination is drawn to the structure of the painting; to the relationship of its forms and the echoing spaces in-between (the shape of the officer’s hat is loosely repeated throughout the painting); to how cool tones respond to warm; to the complexities of the drawing and the realization that nothing is arbitrary.
    [Show full text]
  • Marjorie Welish Biography Education
    SILAS VON MORISSE gallery MARJORIE WELISH (American, lives and works in New York City) Painter and art critic, received her first solo show thanks to Laurie Anderson, then curator of the Whitney Museum Art Resources Center; Welish has exhibited most recently in New York, Paris, Vienna, and Cambridge, England. She received many grants and fellowships, including: Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the Arts, The Fifth Floor Foundation, Guggenheim Foundation Fellowship, Pollock-Krasner Foundation, and Trust for Mutual Understanding (supporting an exchange between the International Studio Program, New York and the Artists’ Museum, Łódź, Poland). In 2006, she received a Fulbright Senior Specialist Fellowship to teach at the University of Frankfurt, where she also worked on a limited-edition constructed art book, Oaths? Questions? in collaboration with James Siena, published by Granary Books in 2009 (in the collections of the Beinecke Library at Yale, Columbia University, Getty Museum, and The Metropolitan Museum of Art); in 2010 with a Fulbright, she was at Edinburgh College of Art. Writing on her work may be found in Of the Diagram: The Work of Marjorie Welish (Slought Foundation) compiles papers given at a conference on April 5, 2002, at the University of Pennsylvania. Welish’s book of art criticism is Signifying Art: Essays on Art after 1960 (Cambridge University Press). Marjorie Welish is on the Board of the International Studio and Curatorial Program (ISCP), and on the Advisory Board of Satellite Berlin, which also sponsors “Paper Architecture: Urbanism” (a collaborative project with Olivier Gourvil and urbanist Muriel Pagès). Her art is represented by Emanuel von Baeyer, London; Silas von Morisse Gallery, Brooklyn, New York; Aaron Galleries, Chicago.
    [Show full text]
  • The Censored Paintings of Paul Cadmus, 1934-1940
    THE CENSORED PAINTINGS OF PAUL CADMUS, 1934-1940: THE BODY AS THE BOUNDARY BETWEEN THE DECENT AND OBSCENE by ANTHONY J. MORRIS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Anthony J. Morris, candidate for the PhD degree*. ________________ Henry Adams ________________ (chair of the committee) ________________ Ellen G. Landau ______________ ________________ T. Kenny Fountain ____________ ________________ Renée Sentilles _______________ Date: March 15, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents: Table of Contents: ii. List of Figures v. Acknowledgements xi. Abstract xiii. Chapter I Introduction: Censorship and the American Scene 1. Censorship of Sex: The Comstock Laws 3. Censorship of Hate Speech: Griffith’s “The Birth of a Nation” 10. Censorship of Political Ideology: Diego Rivera 13. Censorship and the New Deal Mural Program 16. Paul Cadmus and Other Painters of the American Scene 21. The Depiction of the Working Class 23. The Depiction of Women and Sexuality 27. The Depiction of Alcohol Following the Prohibition Era 31. Chapter II Historiography of Paul Cadmus: The Gay Satirist 34. 1930s: Repulsive Subjects and Garish Color 35. 1941-1968: Near Silence 41. 1968-1992: Re-emergence and Re-considered 44. 1992-present: Queering Paul Cadmus 51. ii Chapter III The Navy, The New Deal, and The Fleet’s In! Reconsidered 59. The National Exhibition of Art by the Public Works of Art Project 60.
    [Show full text]
  • Abbott Laboratories: Provisioning a Vision Brandon Burrell
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Abbott Laboratories: Provisioning a Vision Brandon Burrell Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATER & DANCE ABBOTT LABORATORIES: PROVISIONING A VISION By BRANDON BURRELL A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2013 Brandon Burrell defended this dissertation on March 20, 2013. The members of the supervisory committee were: Karen A. Bearor Professor Directing Dissertation Valliere Richard Auzenne University Representative Adam Jolles Committee Member Robert Neuman Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii Dedicated to my Jessica and Callista. iii ACKNOWLEDGMENTS I would like to acknowledge the tireless dedication of Dr. Karen Bearor, the support of my committee members Valliere Richard Auzenne, Adam Jolles, and Robert Neuman. I would also like to thank Mrs. Kathy Braun, the Florida Education Fund (McKnight Fellowship), and my parents. iv TABLE OF CONTENTS List of Figures vi Abstract xii 1. INTRODUCTION 1 2. WHAT’S NEW? 15 3. THE ABBOTT LABORATORIES’ YEAR OF PERIL 49 4. PLANE-AIR PAINTING 93 5. PROVISIONING A VISION 145 6. CONCLUSION 194 APPENDICES 200 A. FIGURES 200 B. NAVY ART COLLECTION CLEARANCE 237 C. VAGA IMAGE CLEARANCE 238 BIBLIOGRAPHY 239 BIOGRAPHICAL SKETCH 248 v LIST OF FIGURES 2.1 Dr.
    [Show full text]