DOCSLIB.ORG

The Museum of Modern Art's "What Is Modern?" Series, 1938-1969

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Museum of Modern Art's City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2012 The Museum of Modern Art's "What Is Modern?" Series, 1938-1969 Jennifer Tobias The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1933 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] i THE MUSEUM OF MODERN ART’S WHAT IS MODERN? SERIES, 1938–1969 BY JENNIFER TOBIAS A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2012 ii © 2012 JENNIFER TOBIAS ALL RIGHTS RESERVED iii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Dr. Rosemarie Haag Bletter [Bletter sig] Date Chair of Examining Committee Dr. Kevin Murphy [EO sig] Date Executive Officer Dr. Rose-Carol Long Dr. Claire Bishop Dr. Mary Anne Staniszewski Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract THE MUSEUM OF MODERN ART’S WHAT IS MODERN? SERIES, 1938–1969 by Jennifer Tobias Adviser: Professor Rosemarie Haag Bletter Between 1938 and 1969, the Museum of Modern Art (MoMA) poses the question of What Is Modern? (WIM) in a series of books, traveling exhibitions, and a symposium. This dissertation argues for the WIM project as a sustained if minimally effective effort to influence popular American perceptions of modern art, architecture, and design, at the same time embodying tensions inherent to the museum and its notions of that modernism. MoMA is an unquestionable influence on modern art history. WIM is a significant component of this influence, yet scholarship on the series is minimal. Hiding in plain sight, the series offers signal insights into the Museum’s first century of answers to the question of What Is Modern? Each WIM holds a key to the development and dissemination of MoMA’s ideology. Two versions of What Is Modern Architecture? (WISMA, 1938, 1962) first advocate for and then wrestle with the legacy of International Style architecture. Next, Alfred H. Barr Jr.’s What Is Modern Painting? (WIMP, 1943) and precursors reflect development of the museum’s core ideals. At mid-century, Edward Steichen’s symposium and unrealized book What Is Modern Photography? (WIMPh, 1950, 1951) fail to critically address the medium upon which the series depends to make its case. At the same time, Edgar J. Kaufmann Jr.’s What Is Modern Design? (WIMD, 1950) and What Is Modern Interior Design? (WISMID, 1953) assert an alternative to the machine v aesthetic and International Style ideology. Finally, two versions of What Is Modern Sculpture? (WIMS, 1942, 1969) evince a formalism that, while innovative and provocative in MoMA’s early years, read as a conservative statement in the face of late- century art movements and post-colonial attitudes towards “primitivism.” The dissertation concludes with a review of media for which the museum chose other (or no) forms of popularization, followed by a review of key themes supporting the central argument. This investigation draws two interrelated conclusions. First, the WIM series represents a complex and contradictory internal discourse, both within and between departments, over the course of most of the twentieth century, that is subsumed into a confident public education campaign. Second, engagement with modern communications media is integral to the formulation, promulgation—and dissonance—of those notions. Disclosure Statement I have been an employee of MoMA since 1998 as a librarian. MoMA subsidized this degree through its tuition benefit. vi CONTENTS DISCLOSURE STATEMENT .......................................................................................... V ILLUSTRATIONS ........................................................................................................ VIII INTRODUCTION ............................................................................................................ 1 Literature Review ........................................................................................................... 5 What Is Modern? Formats .............................................................................................. 7 Chapter Summaries ........................................................................................................ 7 Context ........................................................................................................................... 9 CHAPTER 1. WHAT IS MODERN ARCHITECTURE? (WISMA) CE AND BOOK, 1938– 1962 ..............................................................................................................................20 What Is Modern Architecture? (WISMA1) CE and Book, 1938–1945 .............................22 What Is Happening to Modern Architecture? Symposium (1948) and Unpublished WISMA Manuscript (1955) .............................................................................................48 What Is Modern Architecture? (WISMA2) CE, 1962–1975.............................................57 Conclusion: Transformations in Modern Architecture , 1979 ...........................................81 CHAPTER 2. WHAT IS MODERN PAINTING? (WIMP) BOOK AND CE, 1943–1988 ...87 Phase 1: Precursors, 1926–1934 ..................................................................................88 Phase 2: What Is Modern Painting? (WIMP) Book and CE Debut, 1943–1944 ............ 100 Phase 3: War’s End, 1946–1949 ................................................................................. 132 Phase 4: Consolidation, 1952–1957 ............................................................................ 135 Phase 5: Decline, 1966–1988 ...................................................................................... 141 Conclusion .................................................................................................................. 144 CHAPTER 3. WHAT IS MODERN PHOTOGRAPHY? (WIMPH) SYMPOSIUM AND UNPUBLISHED BOOK, 1950–1951 ............................................................................ 147 What Is Modern Photography? (WIMPh) Symposium, 1950 ........................................ 150 What Is Modern Photography? (WIMPh) Unpublished Book, 1951 .............................. 154 Conclusion .................................................................................................................. 165 CHAPTER 4. WHAT IS MODERN DESIGN? (WIMD) AND WHAT IS MODERN INTERIOR DESIGN? (WISMID) BOOKS, 1950–1953 ................................................. 168 What Is Modern Design? (WIMD) Book, 1950 ............................................................. 185 What Is Modern Interior Design? (WISMID) Book, 1953 .............................................. 197 Analysis ....................................................................................................................... 203 Conclusion .................................................................................................................. 221 CHAPTER 5. WHAT IS MODERN SCULPTURE? (WIMS), MULTIPLE FORMATS, 1940–1969 .................................................................................................................. 223 What Is Modern Sculpture? (WIMS) Unpublished Book, 1940 ..................................... 226 Introduction to Modern Sculpture CE, 1942–1947 ....................................................... 227 What Is Modern Sculpture? (WIMS) Slide Talk, 1944–1953 ........................................ 230 What Is Modern Sculpture? (WIMS) Unpublished Book, 1945 ..................................... 239 vii Modern Sculpture Teaching Portfolio, 1951 ................................................................. 248 What Is Modern Sculpture? (WIMS) Book, 1969 ......................................................... 252 Conclusion .................................................................................................................. 280 CHAPTER 6. WHAT WASN’T MODERN? ................................................................... 283 Film ............................................................................................................................. 283 Prints ........................................................................................................................... 284 What Is Modern Drawing? (WIMDr) Unpublished Book, 1944 ..................................... 285 CONCLUSION: WHAT WAS WHAT IS MODERN? ..................................................... 290 ILLUSTRATIONS ........................................................................................................ 299 SOURCES CONSULTED ............................................................................................ 318 viii ILLUSTRATIONS Figures 1. What Is Modern? chronology, 1925–1937. .............................................................. 299 2. What Is Modern? chronology, 1938–1942. .............................................................. 300 3. What Is Modern? chronology, 1943–1946. .............................................................. 301 4. What Is Modern? chronology, 1947–1952. .............................................................
Load more

Recommended publications
  • Bauhaus 1 Bauhaus
    Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
    [Show full text]
  • Oral History Interview with Robert Chesley Osborn, 1974 Oct. 21
    Oral history interview with Robert Chesley Osborn, 1974 Oct. 21 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 recorded interview with Robert Chesley Osborn on October 21, 1974. The interview took place at Robert Chesley Osborn's house in Salisbury, Connecticut, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The Archives of American Art has reviewed the transcript and has made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview PAUL CUMMINGS: It's October 21, 1974 and it's Paul Cummings talking to Robert Osborn at his house in Salisbury, Connecticut. You were born in Oshkosh, Wisconsin in 1904. ROBERT OSBORN: That's correct, October 26th. PAUL CUMMINGS: So you have a birthday pretty soon. ROBERT OSBORN: Yes indeed and as you know, I said this morning, as we were lying in bed, you know, I'll bet that one of the things, Paul, that always is so moving to me, because I'm sure as a small boy, you know, I'm anxious as we're approaching the birthday time. PAUL CUMMINGS: Right, right. ROBERT OSBORN: Go ahead.
    [Show full text]
  • Download the List of History Films and Videos (PDF)
    Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future.
    [Show full text]
  • The Design and Construction of Furniture for Mass Production
    Rochester Institute of Technology RIT Scholar Works Theses 5-30-1986 The design and construction of furniture for mass production Kevin Stark Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Stark, Kevin, "The design and construction of furniture for mass production" (1986). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OP TECHNOLOGY A Thesis Submitted to the Faculty of The College of Fine and Applied Arts in Candidacy for the Degree of MASTER OF FINE ARTS The Design and Construction of Furniture for Mass Production By Kevin J. Stark May, 1986 APPROVALS Adviser: Mr. William Keyser/ William Keyser Date: 7 I Associate Adviser: Mr. Douglas Sigler/ Date: Douglas Sigler Associate Adviser: Mr. Craig McArt/ Craig McArt Date: U3{)/8:£ ----~-~~~~7~~------------- Special Assistant to the h I Dean for Graduate Affairs:Mr. Phillip Bornarth/ P i ip Bornarth Da t e : t ;{ ~fft, :..:..=.....:......::....:.:..-=-=-=...i~:...::....:..:.=-=..:..:..!..._------!..... ___ -------7~'tf~~---------- Dean, College of Fine & Applied Arts: Dr. Robert H. Johnston/ Robert H. Johnston Ph.D. Date: ------------------------------ I, Kevin J. Stark , hereby grant permission to the Wallace Memorial Library of RIT, to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit. Date : ____5__ ?_O_-=B::;..... 0.:.......-_____ CONTENTS Thesis Proposal i CHAPTER I - Introduction 1 CHAPTER II - An Investigation Into The Design and Construction Process Side Chair 2 Executive Desk 12 Conference Table 18 Shelving Unit 25 CHAPTER III - A Perspective On Techniques Used In Industrial Furniture Design Wood 33 Metals 37 Plastics 41 CHAPTER IV - Conclusion 47 CHAPTER V - Footnotes 49 CHAPTER VI - Bibliography 50 ILLUSTRATIONS Page I.
    [Show full text]
  • Judaism and Its Effects on Moses Soyer's Paintings and Drawings
    Cleveland State University EngagedScholarship@CSU ETD Archive 2017 A Cultural Approach: Judaism and Its Effects on Moses Soyer’s Paintings and Drawings Rachel Arzuaga Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons How does access to this work benefit ou?y Let us know! Recommended Citation Arzuaga, Rachel, "A Cultural Approach: Judaism and Its Effects on Moses Soyer’s Paintings and Drawings" (2017). ETD Archive. 965. https://engagedscholarship.csuohio.edu/etdarchive/965 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. A CULTURAL APPROACH: JUDAISM AND ITS EFFECTS ON MOSES SOYER’S PAINTINGS AND DRAWINGS RACHEL ARZUAGA Bachelor of Arts in Art History Cleveland State University December 2013 Submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY August 2017 We hereby approve this thesis for Rachel Arzuaga Candidate for the Master of Arts in History degree for the Department of History and the Department of Art and the CLEVELAND STATE UNIVERSITY College of Graduate Studies _________________________________________________________________ Thesis Chairperson, Dr. Samantha Baskind _____________________________________________
    [Show full text]
  • Contributors [V. 7, No. 2]
    The Kentucky Review Volume 7 | Number 2 Article 1 Summer 1987 Contributors [v. 7, no. 2] Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Arts and Humanities Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation (1987) "Contributors [v. 7, no. 2]," The Kentucky Review: Vol. 7 : No. 2 , Article 1. Available at: https://uknowledge.uky.edu/kentucky-review/vol7/iss2/1 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. EDITORIAL BOARD Paul A. Willis, Chairman Guy Davenport William J. Hennessey Jacqueline Hopkins James C. Klotter Donald A. Ringe EDITOR James D. Birchfield PRODUCTION MANAGER Mary M. Vass PRODUCTION STAFF Robert A. Aken William Cooper Bonnie Cox Charles Czarski Dan Hodge Bradley 0. Grissom Claire McCann Margaret M. Shaw Julie Stone The Kentucky Review is a refereed journal published by the University of Kentucky Library Associates three times a year. Articles and interviews relating to American, English, and world literature, history, philosophy, art, architecture, music, folklore, typography, cinema, or other topics in the humanities are welcomed for consideration. Subscription: Ten dollars per year. Membership in the Library Associates at fifteen dollars per year includes The Kentucky Review. Single issues: This special Thomas Merton Symposium issue is priced at five dollars. Single issues are regularly three dollars and fifty cents.
    [Show full text]
  • Course Syllabus Jump to Today Modern American Architecture Columbia University, GSAPP Spring 2020, Mondays 11-1 Professor Jorge Otero- Pailos Ph.D
    Course Syllabus Jump to Today Modern American Architecture Columbia University, GSAPP Spring 2020, Mondays 11-1 Professor Jorge Otero- Pailos Ph.D. TA: Shuyi [email protected] M.S TA: Mariana Ávila [email protected] Course Description: This course is a survey of American Modern Architecture since the country’s first centennial. As America ascended to its current position of hegemony during the late 19th and 20th centuries, its architects helped refashion the built environment to serve the needs of a growing and ever-diverse population. Hand in hand with the satisfaction of pragmatic requirements, American architects were called upon to fulfill deeper psychological wants, such as the country’s desire to have a national History. The American complex about the brevity, artificiality, and exterior dependency of its history, structured, with varying degrees of intensity, the evolution of the architectural discipline. Out of this deep-seated, and by no means exhausted, anxiety about producing, preserving, and identifying American history, came a sophisticated architectural culture; one capable of foiling, exploiting, subverting, and manipulating the various contradictions of modernity. From the standpoint of this relationship between history and modernity, we will analyze the American architectural struggle to be progressive and accepted, exceptional and customary, and to simultaneously capture the future and the past. Each lecture will analyze the production and reception of built (and written) works by renowned figures and anonymous builders. The question of History will help us discern the terms of engagement between architecture and other disciplines over time, such as: preservation, planning, real estate development, politics, health, ecology, sociology, and philosophy.
    [Show full text]
  • Guggenheim Museum Archives Reel-To-Reel Collection Arthur Drexler on the Architecture of the Guggenheim Museum, 1961
    Guggenheim Museum Archives Reel-to-Reel collection Arthur Drexler on the Architecture of the Guggenheim Museum, 1961 MR. GOLDSTONE Is this live now? H. H. ARNASON This isn’t miked. (overlapping dialogue; inaudible). MR. GOLDSTONE There are many familiar faces here I see from the Municipal Art Society’s walking tours. But they’re in an unfamiliar setting, both the time of day, in the evening instead of the usual Sunday afternoon, and the fact that this is a sitting-down walking tour is also unusual. But the Municipal Art Society has always tried to break new ground in any aspect of New York, whether it’s old or middle-aged or a new aspect of New York that has contributed something of [00:01:00] interest to the visual scene in New York. Tonight, we’re going to have a very physically relaxed walking tour. I hope your imaginations will be stretched if your legs are not. We’ve been very fortunate in having Arthur Drexler, director of the department of architecture of the Museum of Modern Art, to give a serious talk on the architecture of the Guggenheim Museum, how it evolved in the mind of one of the greatest American [architects?], Frank Lloyd Wright. This is a three-cornered sponsorship, the Society’s walking tour series, the courtesy of the Solomon Guggenheim Foundation let us have it here, and the Museum [00:02:00] of Modern Art and Department of Architecture to have Arthur Drexler as our speaker. I’d now like to introduce to you Mr.
    [Show full text]
  • The Challenges of French Impressionism in Great Britain
    Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well.
    [Show full text]
  • Colorful Language: Morris Louis, Formalist
    © COPYRIGHT by Paul Vincent 2014 ALL RIGHTS RESERVED To UNC-G professor Dr. Richard Gantt and my mother, for their inspiration and encouragement. COLORFUL LANGUAGE: MORRIS LOUIS, FORMALIST CRITICISM, AND MASCULINITY IN POSTWAR AMERICA BY Paul Vincent ABSTRACT American art at mid-century went through a pivotal shift when the dominant gestural style of Abstract Expressionism was criticized for its expressive painterly qualities in the 1950s. By 1960, critics such as Clement Greenberg and Michael Fried were already championing Color Field painting for its controlled use of color and flattened abstract forms. Morris Louis, whose art typifies this latter style, and the criticism written about his work provides a crucial insight into the socio-cultural implications behind this stylistic shift. An analysis of the formalist writing Greenberg used to promote Louis’s work provides a better understanding of not only postwar American art but also the concepts of masculinity and gender hierarchy that factored into how it was discussed at the time. ii ACKNOWLEDGMENTS I would like to extend my thanks Dr. Helen Langa and Dr. Andrea Pearson for their wisdom, guidance, and patience through the writing of this thesis. I would also like to thank Dr. Juliet Bellow, Dr. Joanne Allen, and Mrs. Kathe Albrecht for their unwavering academic support. I am equally grateful to my peers, Neda Amouzadeh, Lily Sehn, Kathryn Fay, Caitlin Glosser, Can Gulan, Rachael Gustafson, Jill Oakley, Carol Brown, and Fanna Gebreyesus, for their indispensable assistance and kind words. My sincere appreciation goes to The Phillips Collection for allowing me the peace of mind that came with working within its walls and to Mr.
    [Show full text]
  • Thirty-Five Years of the King Library Press: a Dialogue with Carolyn Reading Hammer Paul Evans Holbrook University of Kentucky
    The Kentucky Review Volume 11 | Number 3 Article 3 Fall 1992 Thirty-Five Years of the King Library Press: A Dialogue with Carolyn Reading Hammer Paul Evans Holbrook University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Arts and Humanities Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Holbrook, Paul Evans (1992) "Thirty-Five Years of the King Library Press: A Dialogue with Carolyn Reading Hammer," The Kentucky Review: Vol. 11 : No. 3 , Article 3. Available at: https://uknowledge.uky.edu/kentucky-review/vol11/iss3/3 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. Thirty-Five Years of the King Library Press: A Dialogue with Carolyn Reading Hammer Paul Evans Holbrook MR. HOLBROOK: Since 1991 is the thirty-fifth anniversary year of the King Library Press, the most important topic for us­ perhaps other than the future of the press-would be its origins. How did the press begin? MRS. HAMMER: Perhaps it is good to have this documented. Amelia Buckley and I had been printing at the Bur Press since 1943. When we decided to close operations at the Bur Press our Chandler & Price, located at my studio in Bullock Place, was moved to the basement of the King Library, in the Acquisitions Department, together with type, equipment, and paper.
    [Show full text]
  • THE U.S. STATE, the PRIVATE SECTOR and MODERN ART in SOUTH AMERICA 1940-1943 By
    THE U.S. STATE, THE PRIVATE SECTOR AND MODERN ART IN SOUTH AMERICA 1940-1943 by Olga Ulloa-Herrera A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2014 George Mason University Fairfax, VA The U.S. State, the Private Sector and Modern Art in South America 1940-1943 A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Olga Ulloa-Herrera Master of Arts Louisiana State University, 1989 Director: Michele Greet, Associate Professor Cultural Studies Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Olga Ulloa-Herrera All Rights Reserved ii DEDICATION This is dedicated to Carlos Herrera, Carlos A. Herrera, Roberto J. Herrera, and Max Herrera with love and thanks for making life such an exhilarating adventure; and to María de los Angeles Torres with gratitude and appreciation. iii ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my committee chair Dr. Michele Greet and to my committee members Dr. Paul Smith and Dr. Ellen Wiley Todd whose help, support, and encouragement made this project possible. I have greatly benefited from their guidance as a student and as a researcher. I also would like to acknowledge Dr. Roger Lancaster, director of the Cultural Studies Program at George Mason University and Michelle Carr for their assistance throughout the years.
    [Show full text]