Oral History Interview with Tobey C. Moss, 2013 September 12
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Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
An Exceptional Inclusion: on Moma's Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian
An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art Kathleen Ditzig Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 1, Number 1, March 2017, pp. 39-80 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2017.0002 For additional information about this article https://muse.jhu.edu/article/646477 [ Access provided at 26 Sep 2021 16:50 GMT with no institutional affiliation ] An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art KATHLEEN DITZIG The exhibition of the First Southeast Asia Art Conference and Competition in Manila in 1957 was one of the first post-war events that sought to bring together the then contemporary art from the region.1 What is unusual and worthy of study about this exhibition is that not only was it the first survey exhibition of Southeast Asia, it also included the Museum of Modern Art (MoMA) International Program’s travelling exhibition, Recent American Prints in Color.2 Little is known of the history behind the First Southeast Asia Art Conference and Competition. There have been no studies which recount in detail how the conference and competition came to be, who it served and what it represented.3 Even less is known about how the MoMA exhibition came to be included in this unprecedented platform. However, its inclusion as a participant in the one-room survey exhibition complicates an indigenous art organisation’s attempt to present Southeast Asia as a cultural region within an exhibitionary frame. -
2015-011315Fed
National Register Nomination Case Report HEARING DATE: OCTOBER 21, 2015 Date: October 21, 2015 Case No.: 2015-011315FED Project Address: 800 Chestnut Street (San Francisco Art Institute) Zoning: RH-3 (Residential House, Three-Family) 40-X Height and Bulk District Block/Lot: 0049/001 Project Sponsor: Carol Roland-Nawi, Ph.D., State Historic Preservation Officer California Office of Historic Preservation 1725 23rd Street, Suite 100 Sacramento, CA 95816 Staff Contact: Shannon Ferguson – (415) 575-9074 [email protected] Reviewed By: Timothy Frye – (415) 575-6822 [email protected] Recommendation: Send resolution of findings recommending that, subject to revisions, OHP approve nomination of the subject property to the National Register BACKGROUND In its capacity as a Certified Local Government (CLG), the City and County of San Francisco is given the opportunity to comment on nominations to the National Register of Historic Places (National Register). Listing on the National Register of Historic Places provides recognition by the federal government of a building’s or district’s architectural and historical significance. The nomination materials for the individual listing of the San Francisco Art Institute at 800 Chestnut Street were prepared by Page & Turnbull. PROPERTY DESCRIPTION 800 Chestnut Street, also known as the San Francisco Art Institute, is located in San Francisco’s Russian Hill neighborhood on the northwest corner of Chestnut and Jones streets. The property comprises two buildings: the 1926 Spanish Colonial Revival style original building designed by Bakewell & Brown (original building) and the 1969 Brutalist addition designed by Paffard Keatinge-Clay (addition). Constructed of board formed concrete with red tile roofs, the original building is composed of small interconnected multi-level volumes that step up from Chestnut Street to Jones Street and range from one to two stories and features a five-story campanile, Churrigueresque entranceway and courtyard with tiled fountain. -
Like the Ancients: the Art of Donal Hord
The Journal of San Diego History SAN DIEGO HISTORICAL SOCIETY QUARTERLY Summer 1985, Volume 31, Number 3 Thomas Scharf, Managing Editor Like the Ancients: The Art of Donal Hord By Bruce Kamerling 1999 Hord Exhibit ~ Outdoor works ~ Complete works ~ Chronology Donal Hord's first view of San Diego, from the deck of the steamship Congress, brought tears to his eyes. Unfortunately, these were not tears of joy. The previous winter in Seattle, the fourteen- year-old youth had been stricken by rheumatic fever, which left him with a permanently damaged heart. Knowing he would not survive another harsh northern winter, his doctors recommended moving to a warmer climate. When his mother asked him where he would like to live, he chose San Diego because it was close to Mexico. In his fertile imagination, he pictured the pyramids of the Aztecs and the temples of the Maya. Needless to say, San Diego in 1916 could not compare with the lush greenery of Seattle or the mysterious jungles of Mexico. It wasn't long, however, before Hord came to love the region, and the arid southwest became the inspiration for many of his sculptures. He was the product of an unhappy marriage; the future artist's parents divorced when he was still a child, his mother taking him eventually to Seattle. At an early age, he developed an interest in ancient cultures, particularly those of the Orient and the Americas. Being an invalid for much of his youth, he was not able to attend regular school. Instead, he spent time at the library, educating himself in a wide variety of subjects including history, literature, music and art. -
The San Francisco Bay Area 1945 – 1965
Subversive Art as Place, Identity and Bohemia: The San Francisco Bay Area 1945 – 1965 George Herms The Librarian, 1960. A text submitted in fulfillment of the requirements of The Glasgow School of Art For the degree of Master of Philosophy May 2015 © David Gracie 2015 i Abstract This thesis seeks evidence of time, place, and identity, as individualized artistic perspective impacting artists representing groups marginalized within dominant Western, specifically American culture, who lived in the San Francisco Bay Area between 1945–1965. Artists mirror the culture of the time in which they work. To examine this, I employ anthropological, sociological, ethnographic, and art historical pathways in my approach. Ethnic, racial, gender, class, sexual-orientation distinctions and inequities are examined via queer, and Marxist theory considerations, as well as a subjective/objective analysis of documented or existing artworks, philosophical, religious, and cultural theoretical concerns. I examine practice outputs by ethnic/immigrant, homosexual, and bohemian-positioned artists, exploring Saussurean interpretation of language or communicative roles in artwork and iconographic formation. I argue that varied and multiple Californian identities, as well as uniquely San Franciscan concerns, disseminated opposition to dominant United States cultural valuing and that these groups are often dismissed when produced by groups invisible within a dominant culture. I also argue that World War Two cultural upheaval induced Western societal reorganization enabling increased postmodern cultural inclusivity. Dominant societal repression resulted in ethnographic information being heavily coded by Bay Area artists when considering audiences. I examine alternative cultural support systems, art market accessibility, and attempt to decode product messages which reify enforced societal positioning. -
The Joseph A. Baird, Jr. Collection
http://oac.cdlib.org/findaid/ark:/13030/tf4c6004f0 No online items INVENTORY OF THE JOSEPH A. BAIRD, JR. COLLECTION Processed by Pamela Pearl Wilson; machine-readable finding aid created by Jim Sylva Department of Special Collections General Library University of California at Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 2001 The Regents of the University of California. All rights reserved. INVENTORY OF THE JOSEPH A. D-231 1 BAIRD, JR. COLLECTION INVENTORY OF THE JOSEPH A. BAIRD, JR. COLLECTION Collection number: D-231 Department of Special Collections General Library University of California, Davis Davis, California Contact Information Department of Special Collections General Library University of California at Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] Processed by: Pamela Pearl Wilson Date Completed: December 1995 Encoded by: Jim Sylva © 2001 Descriptive Summary Title: The Joseph A. Baird, Jr. Collection Date (inclusive): 1977-1992 Collection number: D-231 Origination: Joseph A. Baird, Jr. Extent: 46 linear feet in 45 archives boxes and 2 folio boxes. Repository: University of California, Davis. General Library. Dept. of Special Collections. Davis, California Shelf location: For current information on the location of these materials, please consult the Special Collections Department. Language: English. Provenance Purchase of the Joseph A. Baird, Jr. Collection was made possible by the University of California Systemwide Shared Purchase Program. The collection was deposited in the Special Collections Department, Shields Library, in 1977. Upon the suggestion of Dr. Baird, the research files of Dr. -
Oral History Interview with Dorr Bothwell, 1965 February 27
Oral history interview with Dorr Bothwell, 1965 February 27 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Dorr Bothwell on 27 February 1965. The interview was conducted in Bothwell's studio in Mendocino, CA, by mary Fuller McChesneyfor the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. This is a rough transcription that may include typographical errors. Interview MARY FULLER MCCHESNEY: This is Mary Fuller McChesney interviewing Dorr Bothwell at her studio in Mendocino, California, and the date is February 27, 1965. First I'd like to ask you where were you born. DORR BOTHWELL: Right in San Francisco. MS. MCCHESNEY: What year was that? MS. BOTHWELL: 1902. MS. MCCHESNEY: And where did you receive your art training? MS. BOTHWELL: At the California School of Fine Arts, which at that time was a temporary building on the lot where the Mark Hopkins Hotel is now. It wasn't the [San Francisco] Art Institute, but it was the old temporary wooden structure built on the foundations that were left of the Mark Hopkins home after it was dynamited during, you know, the fire and earthquake. MS. MCCHESNEY: It was called the Mark Hopkins School at that time, wasn't it? MS. BOTHWELL: No, it was called the California School of Fine Arts at that time. Just had had its name changed. -
Composition and Students of Dow 1
COMPOSITION AND STUDENTS OF DOW 1 COMPOSITION AND STUDENTS OF DOW 2 Copyright Mary Battiata, 2014 COMPOSITION AND STUDENTS OF DOW 3 Acknowledgments This thesis was developed under the guidance of the faculty of the graduate program in Art Education at the Corcoran College of Art + Design in Washington, D.C. I am especially grateful to my primary readers Dr. Pamela Lawton, Director of Education Studies and Associate Professor of Art Education, and Dr. Annie V. F. Storr, the program’s founder and former chair. I also would like to extend thanks to Stephanie Gaskins, curator of the Dow Collection at the Ipswich Museum in Ipswich, MA, for her insights and for the generous access she provided to the Dow student records there; and to Susan Futterman, co-curator of the 2010 Frances Gearhart exhibition at the Pasadena Museum of California Art, for sharing her scholarship and enthusiasm. In the early months of my research, I relied upon and am indebted to the scholarship of the distinguished Dow biographers, curators and art historians Frederick C. Moffatt, Joseph Mascheck, Nancy E. Green, Jessie Poesch and Elizabeth H. Turner; to Lawrence W. Chisolm’s masterful cultural biography of Ernest F. Fenellosa; and to the numerous biographers of Georgia O’Keeffe. For a crucial understanding of the history of art education, I benefited greatly from the vivid and detailed scholarship of Mary Ann Stankiewicz, Peter Smith, Elliot W. Eisner and Michael D. Day, as well as Maurice Brown and Diana Korzenik’s and G. James Daichendt’s inquiries into the relationship between classroom teaching and the teacher’s own studio practice. -
The Museum of Modern Art |1 West 53 Street, New York 19, N
LOCAL ORANGE ( THE MUSEUM OF MODERN ART |1 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: C1RCLI 5-8900 PRESS PREVIEW Tuesday, 2-5 p.m.' $10628 - 37 FOR WEDNESDAY RELEASE 1|0 RECENT PRINTS BY 30 AMERICAN ARTISTS ACQUIRED AND SHOWN BY MUSEUM FOR FIRST TIME Some American Prints: 19U5-50. a collection of l|0 recently acquired prints, many In color, will be on view in a gallery on the third floor of the Museum of Modern Art, 11 West 53 Street, from July k through August 5« The average age of the 30 artists exhibiting is 36 years; many are women. The exhibition has been organized by William S. Lieberman, Associate Curator in charge of prints. The variety of subject matter includes heroes of classical mythology, dramas from the Old and New Testaments, places and people of the American scene, beasts of the jungle, the world transformed by fantasy, and by abstract analysis. As varied as the subject matter are the many graphic techniques themselves: etching and most intaglio media, woodcut and engraving, lithography and serigraphy (prints from silk screens). Shown together as a group are several color woodcuts of except ional scale and boldness by Misch Kohn, Louise Krueger, Seong Moy, Anne Ryan and Louis Schanker. Another wall displays prints of mystery and magic where the use of allegory is as free as the treatment of form and symbol. A few titles offer some indication: "Way through the Woods," "Paw-Paw," "Witches Parade," "Sign of the Lobster," "Memory Machine." Bernard Reder and Andre Racz are represented by several prints offering a survey of their recent work. -
Lot Description Price 4000 Chinese Wood Carved Guanyin with Flaming
Lot Description Price Chinese wood carved Guanyin with flaming mandorla, standing on a mythical beast with fu-dog face and 4000 fish body on waves, right hand holding an amphora and left hand in vitarka mudra, 21''h $ 275 (lot of 5) Indian dancing bangles, four brass and one beaded, together with an Indian oil lamp; bangle: 4002 5''dia; Provenance: The Hemphill Collection of San Francisco $ 20 Chinese blanc de chine porcelain figure, shaped as a bodhisattva seated above rolling waves with an amphora and prayer beads in her hands, the base impressed 'Zeng Yisheng zao', with wood stand, 4003 porcelain: 9.9''h $ 100 (lot of 3) Chinese carved jadeite toggles, each featuring Guanyin in relief standing on a pedestal; the largest: 4004 4.25''l $ 175 (Lot of 3) Chinese small jade carvings, consisting of a recumbent fu-lion with russet hues to the tail, a sea- 4007 green colored cicada, and a figure of Shoulao (god of longevity) clutching onto a staff, largest: 2.3''h $ 100 Strand of coral necklace, comprised of forty-four spherical coral beads of mottled white and coral hues, 4009 16.25''l $ 375 (lot of 3) Chinese jade bangles, two round in ash gray color, and one in emerald green of wide round form 4011 with concaved exterior and straight interior in emerald green, the widest: 2'' w $ 125 Chinese Cizhou-style ceramic pillow, formed as a recumbent cat heightened with brown spots, the back 4012 further decorated with blue flowers, 10''w $ 75 (Lot of 2) Chinese Peking glass snuff bottle and opal carving, consisting of a green overlay glass snuff -
In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States
^ In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States Checklist Introductory Room Maya Deren (Ukraine, 1917–1961, active United States) Excerpt from Meshes of the Afternoon , 1943 16mm film transferred to digital video; music by Teiji Ito added 1959 © Tavia Ito, courtesy of RE:VOIR Gallery 2 Dorothea Tanning (United States, b. 1910, active United States and France) Birthday , 1942 Oil on canvas Philadelphia Museum of Art, purchased with funds contributed by C. K. Williams II, 1999 Sylvia Fein (United States, b. 1919) The Tea Party , 1943 Egg tempera on Masonite Thea Tenenbaum-Malferrari Collection Alice Rahon (France, 1904–1987, active Mexico and United States) Autorretrato (Self-Portrait) , also known as Alice in Wonderland , 1951 Oil on canvas Collection of the Artemundi Group Dorothea Tanning (United States, b. 1910, active United States and France) Premier péril (First Peril) from the series Les sept périls spectraux (The Seven Spectral Perils) , 1950 Color lithograph Michael Lubetkin Collection, courtesy Gallery of Surrealism, New York Frida Kahlo (Mexico, 1907–1954, active Mexico and United States) Mi vestido cuelga ahí (My Dress Hangs There) , 1933 Oil and collage on Masonite FEMSA Collection, Monterrey, Mexico Helen Lundeberg (United States, 1908–1999) Cosmicide , 1935 Oil on Masonite Sheldon Museum of Art, University of Nebraska–Lincoln, NAA–gift of the Peter Kiewit Foundation Gallery 3 Identity: Portraiture Leonora Carrington (England, 1917–2011, active France, Mexico, and United States) -
A Finding Aid to the Dorr Bothwell Papers, 1900-2006, in the Archives of American Art
A Finding Aid to the Dorr Bothwell Papers, 1900-2006, in the Archives of American Art Jean Fitzgerald June 2011 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................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1939-1999............................................................. 5 Series 2: Correspondence, 1939-2002.................................................................... 7 Series 3: Personal Business Records, 1925-2006................................................. 14 Series 4: Notes and Writings, 1928-1998.............................................................