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A Daumier of the Rotogravure
FINE FEBRUARY/MARCH 2011 www.galleryandstudiomagazine.com VOL. 13 NO. 3 New York ARTS GALLERY STUDIO Announces the release of Robert Cenedella’s serigraph & “HEINZ 57” 35”x24” , 2011 A DAUMIER OF THE ROTOGRAVURE Hand screened on acid-free stock, signed and numbered by the artist Denys Wortman at the Museum of the City of New York (Certificate of authenticity is available upon request) STUDIO 57 currently represents: Calder Picasso Dali Cenedella Miro Hirschfeld Levine Grosz Gropper Cadmus Benton Pissaro Bellows Renoir Duchamp Landeck Agam Chagal Sloan Wa rh o l “HEINZ 57” by Robert Cenedella 35”x24” TO COME DOWN ON YOUR PRICES. TO COME DOWN BUY THEM, YOU’LL HAVE IF I HAVE August 30, 1948 Grease pencil, graphite and ink Courtesy of The Center For Cartoon VIII Studies and Denys Wortman plus Sleeping with my Uncle: Coming of Age on the Lower East Side in the '50s Studio 57 Fine Arts Custom Framing 211 West 57th Street New York, NY 10013 212–956–9395 from Ed McCormack’s memoir in progress HOODLUM HEART page 8 Beverly A. Smith Tip Toe Marsh - oil on canvas 24"wide X 36" high Toe Tip March 1st – 19th, 2011 Reception: Friday, March 5th 3-6 PM © Susannah Virginia Griffin - The Warrior 48” x 36” New Century Artist Gallery 530 West 25th, New York Hours: Tues - Sat 10 AM - 6 PM www.beverlyasmith.com Artist seeks gallery representation – [email protected] Wally Gilbert “Geometric Series: SINGULAR SENSATIONS Squares, Triangles, and Lines” Masoud Abedi Jorge Berlato Susannah Virginia Griffin Jenny Medved MORPHING INTO MILIEU Francisco Chediak René Foster Maria José Royuela Maricela Sanchez March 1 - March 22, 2011 Reception: Thursday, March 3, 2011 6-8 pm "Triangles # 2-10," image is 38" x 40" on 44" 36" luster paper. -
George Tooker David Zwirner
David Zwirner New York London Hong Kong George Tooker Artist Biography George Tooker (1920–2011) is best known for his use of the traditional, painstaking medium of egg tempera in compositions reflecting urban life in American postwar society. Born in Brooklyn, he received a degree in English from Harvard University before he began his studies at the Art Students League in 1943, where he worked under the regionalist painter Reginald Marsh. In 1944, Tooker met the artist Paul Cadmus, and they soon became lovers. Cadmus, sixteen years his senior, introduced Tooker to the artist Jared French, with whom he was romantically involved, and French’s wife, Margaret Hoening French, and the four of them traveled extensively throughout Europe and vacationed regularly together. Tooker appears in a number of the photographs taken by PaJaMa, the photographic collective formed by Cadmus and the Frenches, and he served as a model for Cadmus’s painting Inventor (1946). Cadmus and French introduced Tooker to the time-intensive medium of egg tempera, which would become his principal medium. Tooker’s career found early success, due in part to his friend Lincoln Kirstein, the co-founder of the New York City Ballet, encouraging the inclusion of his work in the Fourteen Americans (1946) and Realists and Magic-Realists (1950) exhibitions at the Museum of Modern Art. In 1950, Subway (1950) entered the Whitney Museum of American Art’s collection—the artist’s first museum acquisition—and the following year he received his first solo exhibition at the Edwin Hewitt Gallery. Near the end of the 1940s, Tooker parted ways with Cadmus because of the latter’s ongoing relationship with the Frenches. -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
In This Corner
Welcome UPCOMING Dear Friends, On behalf of my colleagues, Jerry Patch and Darko Tresnjak, and all of our staff SEA OF and artists, I welcome you to The Old TRANQUILITY Globe for this set of new plays in the Jan 12 - Feb 10, 2008 Cassius Carter Centre Stage and the Old Globe Theatre Old Globe Theatre. OOO Our Co-Artistic Director, Jerry Patch, THE has been closely connected with the development of both In This Corner , an Old Globe- AMERICAN PLAN commissioned script, and Sea of Tranquility , a recent work by our Playwright-in-Residence Feb 23 - Mar 30, 2008 Howard Korder, and we couldn’t be more proud of what you will be seeing. Both plays set Cassius Carter Centre Stage the stage for an exciting 2008, filled with new work, familiar works produced with new insight, and a grand new musical ( Dancing in the Dark ) based on a classic MGM musical OOO from the golden age of Hollywood. DANCING Our team plans to continue to pursue artistic excellence at the level expected of this IN THE DARK institution and build upon the legacy of Jack O’Brien and Craig Noel. I’ve had the joy and (Based on the classic honor of leading the Globe since 2002, and I believe we have been successful in our MGM musical “The Band Wagon”) attempt to broaden what we do, keep the level of work at the highest of standards, and make Mar 4 - April 13, 2008 certain that our finances are healthy enough to support our artistic ambitions. With our Old Globe Theatre Board, we have implemented a $75 million campaign that will not only revitalize our campus but will also provide critical funding for the long-term stability of the Globe for OOO future generations. -
Reviews University of New Mexico Press
New Mexico Quarterly Volume 32 | Issue 3 Article 27 1962 Reviews University of New Mexico Press Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation University of New Mexico Press. "Reviews." New Mexico Quarterly 32, 3 (1962). https://digitalrepository.unm.edu/nmq/vol32/iss3/ 27 This Book Review is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. : Reviews 209 R€VI€WS OF: POETS AND MARKETS A Mixed Bag ofLittleMagazines This past year, the Quarterly received a small card headed "Memo from Harper-Atlantic" stating: "It just isn't true that magazines spend all their ti~e in destructive criticism of each other. See, for example, the delightful compliment Newsweek 'paid the Atlantic's April issue." While it is a little sad to read how happy "Harper-Atlantic" could be come through recognition' by Newsweek (Richard Rovere calls News week the magazine of the policy makers, a position which The Atlantic held even after the editorship of Oliver Wendell Holmes in a more literary era) the sentiment of the card seems sincere and incontestable. There are many brave new magazines deserving a salute, even if but ave et vale-chief among them, the little magazines publishing poetry. NMQ regrets having to turn down good verse simply because of space restrictions and is honestly deligpted that there are new outletS for poems. -
1999-02-Art in America
Art in America Feb, 1999 Four Close-Ups - and One Nude - Chuck Close paintings by Linda Nochlin, Richard Kalina, Lynne Tillman, Jerry Saltz Four authors (Linda Nochlin, Richard Kalina, Lynne Tillman and Jerry Saltz) each focus on a single painting by Chuck Close, whose traveling retrospective is on view this month at the Seattle Art Museum. LINDA NOCHLIN on Nancy (1968) It looks just like Nancy, but Nancy didn't look like this. What I mean is, the photo, and even more, the painting after it, have frozen certain atypical, momentary aspects of the sitter--the turned-in eye, the lifted lip, the crooked tooth, the straggling strands of hair--into prominent, permanent features. The painting is a memorial to what was contingent to Nancy Graves, but of course, being photo-based, it purports to tell the truth, the way a mug shot claims to give us the truth, the whole truth and nothing but the truth about the criminal. This is a realist image in that it testifies at once to the existence of the subject in the "real" world beyond the painting and, at the same time, to the concrete, material presence of the acrylic on canvas: a testament to the labor that created this nonvirtuoso display of the artist's patient handwork. The austerity of the production--its lack of color, its stark presentation of image, its refusal of painterly self-indulgence or "personal sensibility"--is also part of the realist ethic. And its exactitude, the unflinching depiction of hairs, wrinkles, askew glance, the gleam on a random tooth, reminds us of the origin of portraiture in magic and memorial. -
Elizabeth Bishop's New York Notebook, 1934-1937 Loretta Blasko
What It Means To Be Modem: Elizabeth Bishop’s New York Notebook, 1934-1937 Loretta Blasko Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Masters of Liberal Studies in American Culture May 4, 2006 First Reader Second Reader, Blasko ii Acknowledgements A special thanks to: Sandra Barry of Halifax, Nova Scotia, for your knowledge in all things E.B. and your encouragement; Susan Fleming of Flint, Michigan, for your friendship and going the distance with me; Dr. J. Zeff and Dr. J. Furman, for your patience and guidance; Andrew Manser of Chicago, Kevin Blasko and Katherine Blasko of Holly, Michigan, my children, for pushing me forward; Alice Ann Sterling Manser, my mother, for your love and support. Blasko Contents Acknowledgements, ii Forward, vi Introduction, x Part I 1934 Chapter 1. The Water That Subdues, 1 Cuttyhunk Island. Chapter 2. It Came to Her Suddenly , 9 New York, Boris Goudinov , Faust , The House o f Greed. Chapter 3. Spring Lobsters, 20 The Aquarium, the gem room at the Museum of Natural Science, Hart Crane’s “Essay Modem Poetry,” Wilenski’s The Modern Movement in Art, John Dryden’s plays. Chapter 4. The Captive Bushmaster, 34 Marianne Moore’s “The Frigate Pelican,” Coleridge’s Biographia Literaria, and Loyola’s Spiritual Exercises . Chapter 5. That Face Needs a Penny Piece of Candy, 54 Henry James’s Wings o f the Dove, What Maisie Knew, and A Small Boy and Others, The U.S.A. School of Writing, Salvador Dali. Blasko Part II 1935 Chapter 6. -
Language in Action
LANGUAG IN ACTION an af Jfflortba Ctbrart?0 Digitized by tine Internet Arciiive in 2011 witii funding from LYRASIS IVIembers and Sloan Foundation http://www.archive.org/details/languageinactionOOinhaya r LANGUAGE IN ACTION A Guide to ACCURATE THINKING READING and WRITING 5. /. Haya\awa ASSISTANT PROFESSOR OF ENGLISH ILLINOIS INSTITUTE OF TECHNOLOGY CHICAGO, ILLINOIS NEW YORK HARCOURT, BRACE AND COMPANY 1947 COPYRIGHT, 1939, 1940, BY S. I. HAYAKAWA COPYRIGHT, I94I, BY HARCOURT, BRACE AND COMPANY, INC. All rights reserved. No part of this hook may he rc- produced in any form, by mimeograph or any other means, without permission in ivriting from the publisher. [h • 10 • 46] PHINTED IN THE UNITED STATES OF AMERICA PREFACE WHAT this book hopes to do is to offer a general system for clearing the mind of harmful obstructions. It is an attempt to apply certain scientific and literary principles, or, as we may call them, semantic principles, to the thinking, talking, listening, reading, and writing we do in everyday life. Everyone knows how an engine, although in perfect repair, can overheat, lose its efficiency, and stop as the result of in- ternal obstructions—sometimes even very minute ones. Every- one has noticed, too, how human minds, also apparendy in perfect repair, often overheat and stop as the result of dogmas, received opinions, or private obsessions. Sometimes a set of obsessions may seize multitudes of people at once, so that hysteria becomes epidemic and nations go mad. The recur- rence of such disorders tempts many of us to conclude that there are fundamental and incurable defects in "human na- ture." The fudlity of such an attitude needs hardly to be re- marked upon. -
In the Art World Intheartworld .Com Summer 2011
M Clifford Ross Harmonium VIII, 2008 © Clifford Ross. Courtesy: Sonnabend Gallery, New York and Clifford Ross Studio. in the art world intheArtworld .com Summer 2011 2011.09.08-10 SHANGHAI EXHIBITION CENTER ฉ࡛ቛબዐ႐ www.shcontemporary.info ALL THAT IS NEW IN SHANGHAI Organizers: 上海国际文化传播协会 ዷӸݛǖ THROCKMORTON FINE ART GEORGE PLATT LYNES June 9th - September 10th, 2011 Book available: GEORGE PLATT LYNES: THE MALE NUDES: $60.00 Image: George Platt Lynes, Orpheus and Eros, 1939, Gelatin silver print, Vintage 145 EAST 57TH ST, 3RD FL, NY, NY, 10022 tel 212. 223. 1059 fax 212. 223. 1937 www.throckmorton-nyc.com [email protected] tarting this season, you have probably noticed the Subiquious M art maps appearing everywhere in M New York — Downtown, Uptown, Chelsea . Totalling 45,000 bi-monthly copies and distributed to the city’s major art districts and top hotels, they’re hard to miss. REVIEWS As the original M magazine has evolved over the years, from a local art guide into a highly regarded art journal with increasing international content, 12 Clifford Ross gallery owners and art patrons have expressed the at Sonnabend Gallery need for a simple guide that visitors can pick up in By Camille Hong Xin galleries and hotels and walk around with, take notes 20 Qin Feng on, stick in their pocket. at Ethan Cohen Fine Arts By Chiara Di Lello Indeed, this was the premise of M from its inception in 1998, when we were the first art publication to 26 Wrong Place for the Right People herald the importance of what was then an emerging at Bullet Space, New York art district called Chelsea. -
George Tooker: Painting and Working Drawings 1947-1988 University of Richmond Museums
University of Richmond UR Scholarship Repository Exhibition Brochures University Museums 1989 George Tooker: Painting and Working Drawings 1947-1988 University of Richmond Museums Follow this and additional works at: http://scholarship.richmond.edu/exhibition-brochures Part of the Fine Arts Commons, and the Painting Commons Recommended Citation University of Richmond Museums. George Tooker: Painting and Working Drawings 1947-1988, September 6 to September 27, 1989, Marsh Art Gallery, University of Richmond Museums. Richmond, Virginia: University of Richmond Museums, 1989. Exhibition Brochure. This Book is brought to you for free and open access by the University Museums at UR Scholarship Repository. It has been accepted for inclusion in Exhibition Brochures by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. GEORGE TOOKER ACKNOWLEDGMENTS LENDERS TO THE First, I would like to thank George Tooker for his EXHIBITION cooperation, time and hospitality, which have enabled this exhibition and made its organization George Tooker a pleasure. Second, without the consistent su pport Marisa del Re Gallery, New York and interest of Joel and Lila Harnett, this exhibi Museum of Modern Art, New York tion would not have come to fruition . I owe them a debt of gratitude. Whitney Muse um of American Art, ew York Many people have been generous in their a sist Sid Deutsch Gallery, New York ance: Julia May of the Marisa del Re Gallery; Joel and Lila Harnett lldiko Heffernan and Mary Ann Ricketso n of the Robert Hull Fleming Museum of the University of Kitty and Herbert Glantz Vermont; and Arnold Skolnick of Chameleon Books, New York. -
THANKSGIVING DAY the American Calendar
THE MEANING OF THANKSGIVING DAY The American Calendar Amy A. Kass | Leon R. Kass A Project of WhatSoProudlyWeHail.org For additional materials and opportunities for comment, readers are invited to visit our website: www.whatsoproudlywehail.org Copyright © 2012, editorial matter by What So Proudly We Hail Cover: Jennie Augusta Brownscombe, The First Thanksgiving at Plymouth, 1914 Design by Jessica Cantelon What So Proudly We Hail 1150 17th Street, NW Tenth Floor Washington, DC 20036 WhatSoProudlyWeHail.org Table of Contents * suitable for students, grades 5–8 1. THANKSGIVING: AN AMERICAN HOLIDAY The Origins and Traditions of Thanksgiving Day* 2 William Bradford, Excerpts from Of Plymouth Plantation 6 George Washington, Thanksgiving Proclamation* 11 Sarah Josepha Buell Hale, Excerpt from Northwood 13 Sarah Josepha Buell Hale, “Our National Thanksgiving”* 17 Sarah Josepha Buell Hale, Letter to President Abraham Lincoln* 18 Abraham Lincoln, Thanksgiving Proclamation* 20 Ronald Reagan and Barack Obama, Modern Thanksgiving Proclamations* 22 James W. Ceaser, Excerpt from “No Thanks to Gratitude” 25 2. PUBLIC AND PRIVATE BLESSINGS: THE THINGS FOR WHICH WE SHOULD BE GRATEFUL Harvest John Greenleaf Whittier, “For an Autumn Festival” 29 John Greenleaf Whittier, “The Corn Song” * 31 Hearth and Home Louisa May Alcott, “An Old-Fashioned Thanksgiving” * 33 Lydia Maria Child, “Thanksgiving Day” * 48 Nathaniel Hawthorne, “John Inglefield’s Thanksgiving” 49 Edgar Albert Guest, “Thanksgiving” * 54 Prosperity Harriet Beecher Stowe, “How We Kept Thanksgiving at Oldtown” * 57 Jack London, “Thanksgiving on Slav Creek”* 65 Sarah Orne Jewett, “The Lost Turkey”* 72 Langston Hughes, “Those Who Have No Turkey”* 79 Neighborliness and Hospitality Sarah Orne Jewett, “The Night Before Thanksgiving”* 85 O. -
Edgar Guest's Home & Family Poems
Edgar Guest’s Home & Family Poems For reading aloud, memorization, recitation, copywork, or just for fun! Compiled by Teri Ann Berg Olsen www.KnowledgeHouse.info Edgar Guest’s Home & Family Poems Copyright © 2011 By Teri Ann Berg Olsen All rights reserved. Published by: Knowledge House www.knowledgehouse.info This e-book may not be reproduced or transmitted in any form or by any means without written permission from the publisher. No unauthorized duplication please! If you like this e-book, please join my mailing list: http://groups.yahoo.com/group/KnowledgeHouse/ You will receive a FREE monthly newsletter of homeschool information, ideas, and inspiration –plus more e-books and other freebies to enjoy! Home & Family Poems by Edgar Guest EDGAR GUEST If ever there were a “Poet Laureate” for homeschoolers, it surely would be Edgar A. Guest. His writings consist of light folksy verse centered around the joys of home and family, motherhood and fatherhood, the virtues of honest labor and plain living. Guest’s sentimental, optimistic poems are based upon the traditional values of small-town America. His poetry was widely read in the early 20th century. Edgar Albert Guest was born in Birmingham, England, to Edwin and Julia Guest on August 20, 1881. The family moved to the United States in 1891 and settled in Detroit, Michigan, where “Eddie” was educated. After Edgar’s father lost his job in early 1893, the 11-year-old began working odd jobs after school. In 1895 he was hired as a copy boy for the Detroit Free Press . When Edgar was 17, his father died.