Communistinfiltr07unit.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Communistinfiltr07unit.Pdf s c f//r///j ea&^z^t'/vrrM COMMUNIST INFILTRATION OF HOLLYWOOD MOTION-PICTURE INDUSTRY— PART 7 HEARINGS BEFORE THE COMMITTEE ON UN-AMERICAN ACTIVITIES HOUSE OF REPRESENTATIVES EIGHTY-SECOND CONGRESS SECOND SESSION JANUARY 24, 28, FEBRUARY 5, MARCH 20, AND APRIL 10, 30, 1952 Printed for the use of the Committee on Un-American Activities UNITED STATES GOVERNMENT PRINTING OFFICE 95829 WASHINGTON : 1952 COMMITTEE ON UN-AMERICAN ACTIVITIES United States House of Representatives JOHN S. WOOD, Georgia, Chairman FRANCIS E. WALTER, Pennsylvania HAROLD H. VELDE, Illinois MORGAN M. MOULDER, Missouri BERNARD W. KEARNEY, New York CLYDE DOYLE, California DONALD L. JACKSON, California JAMES B. FRAZIER, Jr., Tennessee CHARLES E. POTTER, Michigan Frank S. Tavenner, Jr., Counsel Louis J. Rdssell, Senior Investigator John W. Carrington, Clerk of Committee Raphael L, Nixon, Director of Research n CONTENTS Page January 24, 1952, appearance of M. William Pomerance ^__ 2307 January 28, 1952 : Testimony of— Melvin Levy 2309 Michael Seymour Blankfort 2328 Oeorgo Passman 2306 February 5, 1952, testimony of M. William Pomerance 2373 March 20, 1952, testimony of Hyman ("Hy") Solomon Kraft 2397 April 10, 1952, testimony of Elia Kazan 2409 April 30, 1952, testimony of Edward G. Kobinson 2417 in COMMUNIST INFILTRATION OF HOLLYWOOD MOTION PICTURE INDUSTRY—PART 7 THURSDAY, JANUARY 24, 1952 United States House of Representatives, Committee on Un-American Activities, Washington, D. C. PUBLIC HEADING The Committee on Un-American Activities met pursuant to ad- journment, at 2 : 28 p. m., in room 226, Old House Office Building, Hon. John S. Wood (chairman) presiding. Committee members present: Representatives John S. Wood, Clyde Doyle, Bernard W. Kearney, Donald L. Jackson, and Charles E. Potter. Staff members : Frank S. counsel present Tavenner, Jr., ; Thomas W. Beale, Sr., assistant counsel; John W. Carrington, clerk; Raphael I. director of research E. Nixon, ; Courtney Owens and William A. Wheeler, investigators; and A. S. Poore, editor. Mr. Wood. Let the committee be in order. For the purposes of the hearing this afternoon, acting under the authority and resolution establishing this committee, I as chairman set up the subcommittee composed of the following members: Messrs. and all Doyle, Kearney, Potter, Wood ; and they are present. Who do you have for the first witness, Mr. Counsel? Mr. Tavenner. I will call Mr. William Pomerance. Mr. Wood. Mr. Pomerance, will you hold up your right hand and be sworn ? Do you solemnly swear that the evidence you will give this sub- committee will be the truth, the whole truth, and nothing but the truth, so help you God ? Mr. Pomerance. I do. Mr. Wood. Have a seat, please. TESTIMONY OF M. WILLIAM POMERANCE, ACCOMPANIED BY HIS COUNSEL, DAVID REIN Mr. Tavenner. Mr. Chairman, my purpose in calling the witness was merely to have him respond to the subpena and to have the com- mittee set a date for his appearance, as it is quite evident with the work we have planned here for today and tomorrow that we are not likely to reach him. However, I will ask him one or two questions. Mr. Pomerance, you were served with a subpena to appear here today, the 24th day of January ? 2307 2308 COMMUNISM IN HOLLYWOOD MOTION-PICTURE INDUSTRY Mr. Pomerance. Yes, sir. Mr. Tavenner. When was the subpena served on you ? Mr. Pomerance. Tuesday morning. Mr. Wood. Mr. Pomerance, owing to the schedule that we have had this week, and its taking more time than the committee contemplated, I regret very much that we are not going to be able to hear your testi- mony, and I am going to excuse you until Tuesday, the 5th of February. (Whereupon the witness was excused and the committee proceeded with the witness, A. Marburg Yerkes, whose testimony is printed in a separate publication entitled "Communist Infiltration Into Profes- sional Groups.") COMMUNIST INFILTKATION OF HOLLYWOOD MOTION- PICTURE INDUSTRY—PART 7 MONDAY, JANUARY 28, 1952 United States House of Representatives, Committee on Un-American Activities, Washington, D. C. PUBLIC HEARING The Committee on Un-American Activities met, pursuant to ad- journment, at 10 : 10 a. m., in room 226, Old House Office Building, Hon. Francis E. Walter presiding. Committee members present : Representatives Francis E. Walter, Morgan M. Moulder, Clyde Doyle, James B. Frazier, Jr., (appearance as noted in Harold H. as noted in record) , Velde, (appearance record) , Bernard W. Kearney, Donald L. Jackson, and Charles E. Potter. Staff members : Frank S. counsel present Tavenner, Jr., ; Thomas W. assistant counsel John clerk I. Beale, Sr., ; W. Carrington, ; Raphael Nixon, director of research; William A. Wheeler and Courtney E. A. editor. Owens, investigators ; and S. Poore, Mr. Walter. The committee will come to order, please. Let the record show that there are present Messrs. Moulder, Doyle, Frazier, Velde, Kearney, Jackson, Potter, and Walter. Who is your next witness, Mr. Tavenner? Mr. Tavenner. I will call Mr. Melvin Levy. What is your name, please, sir? Mr. Levy. Melvin Levy. Mr. Walter. Just a moment. Will you rise please, and hold up your right hand ? Do you solemnly swear that the testimony you are about to give will be the truth, the whole truth, and nothing but the truth, so help you God? Mr. Levy. I do. TESTIMONY OF MELVIN LEVY Mr. Tavenner. What is your name, please, sir ? Mr. Levy. Melvin Levy. Mr. Tavenner. When and where were you born, Mr. Levy ? Mr. Levy. In Salt Lake City, on May 11, 1902. Mr. Tavenner. Will you raise your voice just a little bit ? Mr. Levy. Yes. Mr. Tavenner. Will you tell the committee, please, briefly, what your educational training has been ? 2309 2310 COMMUNISM IN HOLLYWOOD MOTION-PICTURE INDUSTRY Mr. Levy. I am a graduate with a master's degree of the University of Washington. (Representative Francis E. Walter left the hearing room at this point.) Mr. Tavenner. It is rather difficult to hear you. Mr. Levy. I am sorry. I will try to raise it. Mr. Tavenner. You stated you were a graduate of the University of Washington ? Mr. Levy. The University of Washington, and I have a master's degree. Sir. Tavenner. A master's degree ? Mr. Levy. Yes. Mr. Tavenner. What is your profession? Mr. Levy. Writer. Mr. Tavenner. You are a writer ? Mr. Levy. Yes, sir. Mr. Tavenner. Are you a writer of screen plays ? Mr. Levy. Yes, I am a writer of anything. Mr. Tavenner. Will you tell the committee briefly what your record of employment or achievement has been in the field of writing? Mr. Levy. Well, my first novel was published when I was 21, called Matrix, M-a-t-r-i-x. Mr. Tavenner. Matrix? Mr. Levy. Matrix. And I published four novels. My first play was Gold Eagle Guv. Mr. Tavenner. We are having difficulty hearing you. Mr. Levy. I am terribly sorry. My first play was Gold Eagle Guy. It was done in New York in 1931:. And I have done, I suppose, a dozen or 15 or 20 pictures, I don't know; Bandit of Sherwood Forest; Sun- day Dinner for a Soldier; Renegades; She's a Soldier, Too. Mr. Tavenner. What were the names of the last two ? Mr. Levy. The last two that I said. Let's see, did I say "Bandit of Sherwood Forest" ? Mr. Tavenner. Bandit of Sherwood Forest? Mr. Levy. Yes. Sunday Dinner for a Soldier. Mr. Tavenner. Sunday Dinner for a Soldier? Mr. Levy. Hitler's Hangman. Mr. Tavenner. Hitler's Hangman? Mr. Levy. She's a Soldier, Too. Mr. Tavenner. She's a Soldier, Too? Mr. Levy. That is right. Renegades. Mr. Tavenner. Renegades? Mr. Levy. Yes. It covers a Mr. Tavenner. That is sufficient. Mr. Levy, during the course of the hearings conducted by this com- mittee in Los Angeles in September of 1951, Mr. Martin Berkeley appeared as a witness, and identified you as having been at one time a member of the Communist Party. (Addressing news photographers:) May I ask that you get your pictures now? Mr. Levy. You can have a lot of them. COMMUNISM IN HOLLYWOOD MOTION-PICTURE INDUSTRY 2311 Mr. Tavenner. Now that is over with. Mr. Levy. I am very happy. Mr. Tavenner. I stated that Mr. Martin Berkeley had identified you as having been at one time a member of the Communist Party. Did you then voluntarily get in touch with the committee and ask the privilege of appearing before the committee? Mr. Levy. Yes, sir. Mr. Tavenner. To make such statement or explanation of your membership as you desired? Mr. Levy. Yes, sir. Mr. Tavenner. The committee did announce in Hollywood, as it has frequently announced, whenever a person has been named as a member of the Communist Party, or any testimony is given relating to him or his organization, that either he or his organization is invited to appear here for such explanation as the individual or the association desires to present. Mr. Levy. That is what I understand. M r. Tavenner. And it is in response to that that you have appeared ? Mr. Levy. Yes, sir. Mr. Tavenner. Well, what is it that you desire to state to the com- mittee about it? Mr. Levy. Well, Mr. Berkeley's testimony was true. I was twice in m}' life. I was once a member of the Communist Party, and once a member of the Communist Political Association at various times. Mr. Tavenner. That is correct. Mr. Levy. I think that it is, at different times, and with no connec- tion between, no connection between the two things. I became a member of the Communist Party in 1933 at the request of Mr. Earl Browder. Mr.
Recommended publications
  • Llyn Foulkes Between a Rock and a Hard Place
    LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M.
    [Show full text]
  • ^ Exhibition Advisory
    ^ Exhibition advisory Exhibition: Los Angeles to New York: Dwan Gallery, 1959–1971 On View: March 19–September 10, 2017 Location: Resnick Pavilion (Image credits on page 6) (Los Angeles—March 6, 2017) The Los Angeles County Museum of Art (LACMA) presents Los Angeles to New York: Dwan Gallery, 1959–1971, an examination of the storied history of Dwan Gallery, one of the most important galleries of the postwar period in the United States. Virginia Dwan (b. 1931), gallery owner, art patron, and collector, was one of the greatest champions of avant-garde art and artists of the mid-20th century. During her more than 11 years as a gallerist, Dwan’s Los Angeles and New York galleries were among the first bicoastal spaces dedicated to showcasing contemporary art in America. As an arts patron, Dwan was a pivotal figure in the Los Angeles art scene, often providing artists with stipends, studio space, and housing, in addition to giving many artists their first solo shows. At the time, the exhibitions presented at Dwan Gallery were at the forefront of postwar avant-garde art. Dwan organized one of the first Pop art exhibitions in the United States, My Country ’Tis of Thee (1962), and she was one of the earliest and most ardent supporters of Minimal Art and Earthworks. Founded in 1959, Dwan Gallery first opened in a storefront in Westwood, Los Angeles. The gallery presented groundbreaking exhibitions of New York artists such as Philip Guston, Franz Kline, Claes Oldenburg, Robert Rauschenberg, Ad Reinhardt, and Larry Rivers as well as the Los Angeles-based artist Edward Kienholz.
    [Show full text]
  • ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
    ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe.
    [Show full text]
  • Exhibition Advisory
    ^ Exhibition advisory Exhibition: Los Angeles to New York: Dwan Gallery, 1959–1971 On View: March 19–September 10, 2017 Location: Resnick Pavilion (Image credits on page 6) (Los Angeles—March 6, 2017) The Los Angeles County Museum of Art (LACMA) presents Los Angeles to New York: Dwan Gallery, 1959–1971, an examination of the storied history of Dwan Gallery, one of the most important galleries of the postwar period in the United States. Virginia Dwan (b. 1931), gallery owner, art patron, and collector, was one of the greatest champions of avant-garde art and artists of the mid-20th century. During her more than 11 years as a gallerist, Dwan’s Los Angeles and New York galleries were among the first bicoastal spaces dedicated to showcasing contemporary art in America. As an arts patron, Dwan was a pivotal figure in the Los Angeles art scene, often providing artists with stipends, studio space, and housing, in addition to giving many artists their first solo shows. At the time, the exhibitions presented at Dwan Gallery were at the forefront of postwar avant-garde art. Dwan organized one of the first Pop art exhibitions in the United States, My Country ’Tis of Thee (1962), and she was one of the earliest and most ardent supporters of Minimal Art and Earthworks. Founded in 1959, Dwan Gallery first opened in a storefront in Westwood, Los Angeles. The gallery presented groundbreaking exhibitions of New York artists such as Philip Guston, Franz Kline, Claes Oldenburg, Robert Rauschenberg, Ad Reinhardt, and Larry Rivers as well as the Los Angeles-based artist Edward Kienholz.
    [Show full text]
  • Read Ebook {PDF EPUB} Behold the Fire by Michael Blankfort User Search Limit Reached - Please Wait a Few Minutes and Try Again
    Read Ebook {PDF EPUB} Behold the Fire by Michael Blankfort User Search limit reached - please wait a few minutes and try again. In order to protect Biblio.com from unauthorized automated bot activity and allow our customers continual access to our services, we may limit the number of searches an individual can perform on the site in a given period of time. We try to be as generous as possible, but generally attempt to limit search frequency to that which would represent a typical human's interactions. If you are seeing this message, please wait a couple of minutes and try again. If you think that you've reached this page in error, please let us know at [email protected]. If you are an affiliate, and would like to integrate Biblio search results into your site, please contact [email protected] for information on accessing our inventory APIs. Can you guess which first edition cover the image above comes from? What was Dr. Seuss’s first published book? Take a stab at guessing and be entered to win a $50 Biblio gift certificate! Read the rules here. Behold the Fire ( 1914-1918 London, Cairo, Constantinople, Jerusalem, Palestine ) Behold the Fire ( 1914-1918 London, Cairo, Constantinople, Jerusalem, Palestine ) , Michael Blankfort tarafından kaleme alınmıştır. Kitap 1966 yılında A SIGNET BOOK tarafından [ AMERİKA ] yayınlanmıştır. Behold the Fire ( 1914-1918 London, Cairo, Constantinople, Jerusalem, Palestine ) adlı eser İngilizce dilindedir. Kitap BEZ CİLTLİ cilt bilgisi ile yıllar önce eklenmiştir. Behold the Fire ( 1914-1918 London, Cairo, Constantinople, Jerusalem, Palestine ) adlı eser, Kitap > Edebiyat, Kurgu > Roman > Dünya Edebiyatı bölümünde İkinci El olarak satıştadır.
    [Show full text]
  • Vol. XIV, No. 1 CONTENTS JANUARY 1, 1935 Editorial
    VoL. XIV, No. 1 CONTENTS JANUARY 1, 1935 Editorial Comment • • • • • • • • • • • • • • • • .. ..• 3 Correspondence • . • • . • • . • • . • • • • • • . • . • • 34 Keeping the Banks Solvent.............. 6 Review and Comment Americanism .•.••••. Henry George Weiss 6 Revolutionary Literature of 1934 The Fight For Social Insurance. • • • . • • • • 8 Granville Hicks 36 One Year of the Weekly New Masses A Prospect for Edna Millay A Statement to Our Readers and an · Stanley Burnshaw 39 Appeal • • ••••• ••••••. .• • • • . • • ••• 9 New Documents on the Bolshevik Father Coughlin's Army .••.. A. B. Magi! 11 Revolution ...•..••.•.•• Sam Darcy 40 Gagging The Guild •••• William Mangold 15 The Unheard Voice Life of the Mind, 1935 Isidor Schneider 41 Genevieve Taggard 16 Music .................... Ashley Pettis Will the Farmer Go Red? The Theatre 5. The Dark Cloud ...... John Latham 17 The Innocent Propaganda of Maxwell Take This Hope .......•... Richard Giles 19 Anderson ••....• Michael Blankfort 44 In the Nazis' Torture House Other Current Shows .•.••••.••••..•• 45 Karl Billinger 20 Disintegration of a Director ••. Peter Ellis 45 The Man at the Factory Gate Between Ourselves • • • • • • • • . • • • . • • • • . • • . 46 Charles Henry Newman 27 Drawings by H. R. 7598-A Debate on Social Insurance William Sanderson, Mackey, Crockett Mary Van Kleeck ,ys. I. M. Rubinow 28 Johnson, Phil Wolfe, Phil Bard. VoL. XIV, No. 2 CONTENTS JANUARY 8, 1935 Editorial Comment . • . • . • • . 3 Arming the Masses .••.••••. Ben Field 25 Betrayal by the N.A.A.C.P. •. • . • 6 American Decadence Mapped Terror in "Liberal" Wisconsin........... 8 .Samuel Levenson 25 The Truth About the Crawford Case Fire on the Andes •••... Frank Gordon 26 Martha Gruening 9 Brief Review ••••••••••••••• , • • • . • • 27 Moscow Street. ....... Charles B. Strauss 15 Book Notes •••••••••••••••.••.•••••• 27 The Auto Workers Face 1935 Art A.
    [Show full text]
  • Writers Guild of America Oral History Collection
    http://oac.cdlib.org/findaid/ark:/13030/c84f1xzb No online items Writers Guild of America Oral History Collection Finding aid created by Writers Guild Foundation Archive staff using RecordEXPRESS Writers Guild Foundation Archive 7000 West Third Street Los Angeles, California 90048 (323) 782-4680 [email protected] https://www.wgfoundation.org/archive/ 2020 Writers Guild of America Oral WGF-WGA-001 1 History Collection Descriptive Summary Title: Writers Guild of America Oral History Collection Dates: 1978-1979 Collection Number: WGF-WGA-001 Creator/Collector: Extent: 95 interviews Repository: Writers Guild Foundation Archive Los Angeles, California 90048 Abstract: This collection consist of 95 audiotaped interviews with screenwriters, WGA board members and WGA executive leadership. Most audiotapes have accompanying typed transcripts as well. Topics discussed by interviewees concern Screen Writers' Guild organizing as a labor union in 1933, the screenwriting profession, the Hollywood Blacklist and the Hollywood Ten, and Guild achievements and goals from the 1930s to the 1970s. Language of Material: English Access Open for qualified researchers. Available by appointment only. Publication Rights The responsibility to secure copyright and publication permission rests with the patron. Preferred Citation Writers Guild of America Oral History Collection. Writers Guild Foundation Archive Acquisition Information Transferred from WGA to WGF on an unknown date. Biography/Administrative History The Writers Guild of America West is the labor union that represents writers who write for film and television. In 1978, the WGA formed a History Committee and conducted audiotaped interviews with screenwriters important to the history of the Guild and the profession. The audiotapes and transcripts were subsequently transferred to the Writers Guild Foundation.
    [Show full text]
  • Professor John P. Bakke
    Men at War: Early Lessons at "The Town" Professor John P. Bakke Last spring I finally got the courage to teach a seminar in rhetoric and popular war films, especially those made during or shortly after World War II. As the bombing of Pearl Harbor is my earliest memory, I was literally weaned on such movies and made no distinction between what I saw on the screen and the war itself. Like Jeanine Basinger confesses in the introduction to her admirable study of World War II combat films, I expected the enemy in my backyard everyday. Why? In her words, "I went to the movies . .. and God knows, there they were."1 Oh, I remember blackouts, shortages, and rationing. And I remember neighbors going to war and occasional talk of someone not coming home. But those memories are no more real to me than those black and white images I saw in the Town Theatre in Waukon, Iowa. I never had any interest in the history of any war. I don't care if there was or was not a "Tanaka Plan." I don't care what the real turning point was in "The Battle of the Bulge" or even if Der Feuhrer is alive and well and living in Argentina. I care about war "films" because I learned from them values, senses of right and wrong, and notions about patriotism and freedom and courage and manliness. They placed images in my head of strange looking people from such far away places as Brooklyn and Tennessee, England and France, and, oh yes, from Germany and Japan.
    [Show full text]
  • Literature and Rare Books a Miscellany
    Literature And Rare Books A Miscellany. 1502 - 2000 Catalogue 298 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and Fax machines for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • Sunshine and Shadow: Recent Painting in Southern California Exhibition Dates: 15 January-23 February 1985
    Sunshine and Shadow: Recent Painting in Southern California Exhibition Dates: 15 January-23 February 1985 2500 copies printed on the occasion of the exhibition, Sunshine and Shadow: Recent Painting in Southern California, at the Fisher Gallery, University of Southern California, Los Angeles, California. Catalog design: Nancy Zaslavsky, Ultragraphics, Venice, California Design assistant: Lupe Marmolejo Assistant to the curator: Joanne Rattner Catalog editor: Jeanne D ’Andrea Photography: Damian Andrus - pp. 17, 43; Art Documentation - pp. 15, 23, 2 7 . -29. 33. 37. 45. 53. 59, 61, 67; J. Felgar - pp. 47, 5.; L.A. Louver - pp. 55, 71; Barbara Lyter - p. 35; Modernism - p. 39; Douglas M. Parker Studio - pp. 21, 37; Ernest Silva - p. 69. Typographer: Mondo Typo, Santa Monica, California Typography: Garamond with small caps; Univers 85 Lithography: Southern California Graphics, Culver City, California Text paper: 100 pound Centura Cover paper: .018 pt. Carolina © 1985 by the Fellows of Contemporary Art, Los Angeles, California All rights reserved Printed in the United States of America No part of this catalog may be reproduced in any form by any electronic or mechanical means without permission in writing from the Fellows of Contemporary Art, except by a reviewer who may quote brief passages in a review. Published by the Fellows of Contemporary Art, 333 South Hope Street, 48th Floor, Los Angeles, California 90071. Library of Congress Catalog Card Number 84-73006 isbn 0-911291-10-5 Sunshine and Shadow: Recent Painting in Southern California Susan C. Larsen An exhibition and catalog initiated and sponsored by the Fellows of Contemporary Art, Los Angeles, and organized by the Fisher Gallery, University of Southern California.
    [Show full text]
  • Scientific and Cultural Conference for World Peace
    REVIEW OF THE SCIENTIFIC AND CULTURAL CONFERENCE FORWORLD PEACE ARRANGED BY THE NATIONAL COUNCIL O~ THE ARTS, SCIENCES AND PROFESSIONS AND HELD IN NEW YORK CITY ON MARCH 25, 26, and 27, 1949 APRIL 19, 1949 Prepared and released by the COMMITTEE ON UN-AMERICAN ACTIVITIES, U. S. HOUSE OP REPRESENTATIVES WASHINGTON, D. C. COMMITTEE ON"UN';A:MERICAN' ACTIVITIES, UNITED STATES HOUSE OF REPRESEKTJ\TIVES JOHN B.WOOD, Georgia, Chairman FRANCISE. WALTER, Pcnnsyivanla J. PARNELL THOMAS, New]ersey BURR P. HA.RRISON,Virglnin RICHARD M. NIXON, California JOHN McSWEENEY, Ohio FRANCIS CA.SE, SouthDakota MORGAN M. MOULDER, Missouri HAROLD H. VELDE, illinois LOUIS J. RUSSELL, Senior. IflIJe&tioatoT :attNl~~nNMANDEL, Direclor: Of lU8earch JOlIN W. CARRINGTON, Olerk Of Comrn!t(ie II ~ ... " :... X" ~.~ ...... \" .', - . / A REVIEW OF THE SCIENTIFIC AND CULTURAL CONFERENCE FOR WORLD PEACE ARRANGED BY THE NATIONAL COUN­ CIL OF THE ARTS, SCIENCES, AND PROFESSIONS AND HELD IN NEW YORK CITY ON MARCH 25, 26,. AND 27, 1949 Parading under the imposing title of the Scientific and Cultural Conference lor World Peace the gathering at the Waldorf~A~toria 'Hotel in New York City on 1tlarch 25, 26, and 27, 1949, was actually a supermabilization of the inveterate wheelhors~s and supporters of the Communist Party and' its auxiliary organizations. It was in a sense a glorified pyramid club, pyramiding into one inflated front the names which had time and again been used by the' Communists as. decoys for the entrapment of innocents. The Communist-front connections of these sponsors, as reflected by the tabulation in this report, are very extensive.
    [Show full text]
  • Stanley Kramer Papers, 1945-1984
    http://oac.cdlib.org/findaid/ark:/13030/ft2x0nb09b No online items Finding Aid for the Stanley Kramer papers, 1945-1984 Processed by Charlotte Payne; machine-readable finding aid created by Caroline Cubé UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 1999 The Regents of the University of California. All rights reserved. Finding Aid for the Stanley 161 1 Kramer papers, 1945-1984 Finding Aid for the Stanley Kramer Papers, 1945-1984 Collection number: 161 UCLA Library, Department of Special Collections Manuscripts Division Los Angeles, CA Contact Information Manuscripts Division UCLA Library, Department of Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Telephone: 310/825-4988 (10:00 a.m. - 4:45 p.m., Pacific Time) Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ Processed by: Charlotte Payne, October 1974 Encoded by: Caroline Cubé Online finding aid edited by: Josh Fiala, July 2002 Text converted and initial container list EAD tagging by: Apex Data Services © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Stanley Kramer Papers, Date (inclusive): 1945-1984 Collection number: 161 Creator: Kramer, Stanley Extent: 316 boxes (158 linear ft.)37 cartons (37 linear ft.)28 oversize boxes 2 oversize Folders Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Abstract: Stanley Kramer (1913- ) was born in New York City.
    [Show full text]