Artists Working for All the People Bibliography
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Treasure Island Museum “Little Island, Big Ideas” Lecture Series March 2013-November 2019
Treasure Island Museum “Little Island, Big Ideas” Lecture Series March 2013-November 2019 Information for speakers: The “Little Island, Big Ideas” lecture series is presented with support from the Treasure Island Development Authority and funding from the Historic Preservation Fund of the City of San Francisco, Office of Economic and Workforce Development. With occasional exceptions, lectures are held on Treasure Island in the lobby of historic Building One on the last Saturday of the month at 10:30 a.m. Lectures typically last about 45 minutes although there is no firm time limit. We have full audio/visual capability and, with permission of the speaker, videotape the lectures as part of the Treasure Island Museum’s educational mission. 2013 March 2, San Francisco History Expo at the San Francisco Mint. A Peaceable Island: The 1939–1940 Golden Gate International Exposition. Richard Reinhardt attended the Golden Gate International Exposition as a teenager. His personal memoir, Treasure Island 1939-1940: The Exposition Years, published in 1972, is an unparalleled classic. Join us for an entertaining and touching trip back to 1939 as Reinhardt shares his wonderful collection of color and black and white images, reflecting his love for the fair, awareness of the sweep of local history, and wry sense of humor. Speaker: Richard Reinhardt is a local and national journalist who has published articles in many newspapers and magazines, and is the author of several books of local history as well as a historical novel. April 13. The Greatest Bridges. The Bay and Golden Gate Bridges were, at the time of their construction, the world’s longest of their kind, as is the new Bay Bridge span. -
WPA Mural Studies Elyse
Episode 710, Story 1: WPA Mural Studies Elyse: Our first story searches for connections between a collection of unusual paintings and the largest job creation program in our nation’s history. As Franklin Delano Roosevelt takes the oath of office in 1933, 15 million Americans are unemployed – 25% of the workforce idled by the Great Depression. Within his first one hundred days Roosevelt launches bold reforms. President Roosevelt: I pledge myself…to a New Deal for the American people. Elyse: FDR’s New Deal work programs will put more than 8 million back to work. And not everyone is laying roads and mixing cement – the program also employs over 40,000 in various arts projects. This unprecedented harnessing of artistic talent will create thousands of paintings, sculptures and murals for public buildings across the country. But today, nearly a third of this artwork is missing – what happened to these important pieces of our nation’s history? Evelyn Cook of Molalla, Oregon, has inherited some paintings that may be part of this lost work. Evelyn: You know, I’ve seen my aunt’s artwork all my life. And now I wonder if there are others out there being inspired by her work as well? Hi, Elyse! Welcome! Elyse: Thank you, thank you. Wow. Look at these! Wow, they’re incredible. Now who’s the artist? Evelyn: It was my aunt, Thelma Johnson Streat. And we think that they were done in the early 1940’s. Elyse: And can you tell me a little bit about her? 1 Evelyn: From the time I was a little child my mom told us we had this famous aunt, who was a famous artist, and so whenever she’d come to town we’d have these big, you know, family get togethers and that’s me and that’s my aunt Thelma. -
Ancient Mexico in United States Art and Visual Culture, 1933-1945
ABSTRACT Title of Document: FORGING A NEW WORLD NATIONALISM: ANCIENT MEXICO IN UNITED STATES ART AND VISUAL CULTURE, 1933-1945 Breanne Robertson, Doctor of Philosophy, 2012 Directed By: Associate Professor Renée Ater, Department of Art History and Archaeology Professor Sally M. Promey, Department of American Studies, Yale University, formerly Department of Art History and Archaeology, University of Maryland Between 1933 and 1945, Americans redefined their cultural identity within a hemispheric context and turned toward Mexican antiquity to invent a non-European national mythos. This reconfiguration of ancient Mexican history and culture coincided with changes in U.S. foreign policy regarding Latin American nations. In his inaugural address on March 4, 1933, President Franklin Roosevelt launched the Good Neighbor Policy, hoping to build an international alliance with Latin American countries that would safeguard the Western hemisphere from the political and economic crises in Europe. As part of these efforts, the government celebrated Mesoamerican civilization as evidence of a great hemispheric heritage belonging also to United States citizens. These historical circumstances altered earlier American views of ancient Mexico as simultaneously a preindustrial paradise of noble savages and an uncivilized site of idolatry, revolution, and human sacrifice. My dissertation examines this official reinterpretation of American past and present reality under the Good Neighbor Policy. Specifically, I consider the portrayal of ancient Mexico in United States art as a symbol of pan-American identity in order to map the ideological contours of U.S. diplomacy and race relations. The chapters of the dissertation present a series of case studies, each devoted to a different facet of the international discourse of U.S.-led pan-Americanism as it was internally conceived and domestically disseminated. -
Timothy L. Pflueger Papers
http://oac.cdlib.org/findaid/ark:/13030/c8rj4pz6 Online items available Finding Aid to the Timothy L. Pflueger Papers Emily Vigor and Cailin Trimble The Bancroft Library March 2015 The Bancroft Library University of California Berkeley, CA 94720-6000 [email protected] URL: http://www.lib.berkeley.edu/libraries/bancroft-library Finding Aid to the Timothy L. BANC MSS 2012/182 1 Pflueger Papers Language of Material: English Contributing Institution: The Bancroft Library Title: Timothy L. Pflueger papers creator: Pflueger, Timothy Ludwig Identifier/Call Number: BANC MSS 2012/182 Physical Description: 109 linear feet (32 cartons, 3 boxes, 149 tubes, 47 oversize folders) Date (inclusive): 1906-2000 Date (bulk): 1914-1946 Abstract: The Timothy L. Pflueger Papers contain records related to the professional career of architect Timothy L. Pflueger (1892-1946) as a member of the firms Miller and Colmesnil, Miller and Pflueger, and Timothy L. Pflueger and Associates. These records include manuscript materials, photographs and drawings. Records also reflect Pflueger’s collaborative relationships with artists, as well as his involvement with numerous professional organizations. Physical Location Many of the Bancroft Library collections are stored offsite and advance notice may be required for use. For current information on the location of these materials, please consult the library's online catalog. Access Collection is open for research. Publication Rights Materials in this collection may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction of some materials may be restricted by terms of University of California gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. -
Diego Rivera at the San Francisco Art Institute Hilary Ellenshaw
University of New Mexico UNM Digital Repository Art & Art History ETDs Electronic Theses and Dissertations 5-1-2012 Diego Rivera at the San Francisco Art Institute Hilary Ellenshaw Follow this and additional works at: https://digitalrepository.unm.edu/arth_etds Recommended Citation Ellenshaw, Hilary. "Diego Rivera at the San Francisco Art Institute." (2012). https://digitalrepository.unm.edu/arth_etds/16 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Art & Art History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i DIEGO RIVERA AT THE SAN FRANCISCO ART INSTITUTE by HILARY ANN ELLENSHAW BACHELOR OF ARTS ART HISTORY UCLA 2007 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Art History The University of New Mexico Albuquerque, New Mexico May, 2012 ii DEDICATION This thesis is dedicated to my grandmothers, Mary and Bobbie. iii ACKNOWLEDGMENTS This thesis would not have been possible if it were not for my mentor Dr. David Craven, who unexpectedly passed this year. He taught me about methodology and having passion for scholarship, and I am grateful I was able to work with him. I would like to thank my committee members, Dr. Holly Barnet-Sanchez, Dr. Joyce Szabo, and Dr. Adrian Johnston, not only for their guidance with this project but for shaping my graduate school experience thus far, and particularly their work through this semester. Thanks go to Tim Drescher for helping me to formulate my assertions early on. -
2021-001721Des
Landmark Designation REcommendation Executive Summary HEARING DATE: MAY 5, 2021 Record No.: 2021-001721DES Project Address: 800 Chestnut Street (The Making of a Fresco Showing the Building of a City) Zoning: RH-3 (Residential-House, Three Family) 40-X Height and Bulk District San Francisco Landmark No. 85 (San Francisco Art Institute) Block/Lot: 0049/001 Project Sponsor: SF Planning Department 49 South Van Ness Avenue, Suite 1400 San Francisco, CA 94103 Property Owner: San Francisco Art Institute 800 Chestnut Street San Francisco, CA 94133-2206 Staff Contact: Pilar LaValley (628-652-7372) [email protected] Recommendation: Recommend Landmark Designation to the Board of Supervisors Property Description The Making of a Fresco Showing the Building of a City is a buon fresco (true fresco) produced in-situ by Diego Rivera with his assistants John Viscount Hastings (Lord Hastings), Clifford Wight, and plasterer Matthew Barnes between May 1 and 31, 1931 at the San Francisco Art Institute (SFAI), then known as the California School of Fine Arts. The fresco occupies the north wall of a studio and exhibit gallery, now known as Diego Rivera Gallery. The Diego Rivera Gallery is located to the west of the courtyard in the original 1926 building of the San Francisco Art Institute (SFAI). The Making of a Fresco Showing the Building of a City, an approximately 40 foot by 30 foot painting, “covers the upper two-thirds of a pedimented interior wall” 1 of a large double-height room. Centered in the unpainted plaster wall below the fresco is an incised inscription about the history of the fresco.