33 Years FREE but Not Cheap

Total Page:16

File Type:pdf, Size:1020Kb

33 Years FREE but Not Cheap faLL 2012 33 Years FREE but not cheap Hay Bale Feeder Diana Suttenfield 2 Issue 134 Vol. XXXIV, No. 3 Established May 1979 Now on the Web! Contents www.shepherdstowngoodnewspaper.org PUBLISHER Shepherdstown Ministerial Association see ARTWORKS in color! Fall 2012 EXECUTIVE EDITOR Randall W. Tremba Essays, Art & Poetry EDITORS 3 Song of Peace for 9/11. By Randall Tremba Nan Broadhurst Libby Howard 9 Freedom’s Defining Moment. By Dan Vermilya and Keith Snyder Sue Kennedy Mark Madison Wendy Mopsik 11–13 ARTWORKS Fran Skiles. By Nan Broadhurst Sarah Soltow Claire Stuart 14 POETRY Shepherdstown 250th Anthology Ed Zahniser 16 Thomas Shepherd Walks at Midnight. By Georgia Lee McElhaney PRE-PRODUCTION EDITOR Libby Howard 17 EARTHBEAT “Earth Beatles.” By Mark Madison SENIOR DESIGNER 20 Hunger and Other Games for Children. By Sarah Soltow Melinda Schmitt DIGITAL IMAGE EDITOR People, Places & Things Nan Doss PHOTOGRAPHER 4 The Making of an Orchestra. By Wendy Mopsik Jessie Schmitt 5 Jay Hurley. By Sue Kennedy TYPISTS Kathy Reid 6 Pronunciator. By Sarah Soltow COPY EDITORS 7 The Joy Line Railroad. By Todd Cotgreave Rie Wilson Claire Stuart 8 Exploring the Spaces Between Fact and Fiction. By Stephen Willingham PROOFREADERS 10 England—Seen Through Raindrops. By Claire Stuart Betty Lou Bryant John Foxen 15 Georgia Lee McElhaney. By Margaret Demer DISTRIBUTION 18 Marker Dedication, Bee Line March. John E. Stealey III Lex Miller TREASURER 19 Driving Marvin Hamlisch. By Mike Henderson Alex Shaw DESIGN & LAYOUT Faith, Hope & Charity Brandon Cornwell, HBP, Inc. 21 Religious Communities Circulation: 13,000 copies printed Bulk mail (11,200) 22 Donors Shepherdstown all patrons (3,450) Kearneysville PO, RR 1-4 (3,000) 23 Business & Service Shenandoah Jct (800) Harpers Ferry PO, RR 1,3 (2,250) Bakerton (80) Cover Artist Martinsburg RR 3 (620) Sharpsburg PO, RR 2 (1,060) Direct mail by request (1,000) Diana Suttenfield celebrates the land and architecture of the place she’s called home since 1962 with luminous paintings Stacks: area restaurants, shops, and visitor centers and intricate drawings. She is also known for her passionate work in conservation and preservation. (1,000) Address GOOD NEWS PAPER, P.O. Box 1212 Shepherdstown, WV 25443 Subscription Form Telephone (304) 876-6466 • FAX (304) 876-2033 Copyright 2012 If you are not already receiving the GOOD NEWS PAPER we will be happy to send it to you free Shepherdstown Ministerial Association, Inc. All rights revert to the author on publication. The of charge. Fill in and mail this coupon. opinions expressed do not necessarily reflect the views of the Advisory Group or the publishers. Name: ______________________________________________________________________ Address: ______________________________________________________________________ Town: ______________________________________________ ZIP: _________________ Now on the Web! GOOD NEWS PAPER P.O. Box 1212 • Shepherdstown, WV 25443 www.shepherdstowngoodnewspaper.orgARTWORKS in color! see 3 Song of Peace for 9/11 Randall Tremba Make me a channel of your peace. intentionally and consistently cultivate compassion and have yet to learn our manners not to mention —St. Francis of Assisi against all odds. That’s no guarantee we’ll all turn out unlearn tribalistic ways. To think violence will end like Father Judge, but it’s a step in the right direction. violence is childish. I don’t care how sophisticated uestion: Do you know the name of the person It takes more, much more, than formal classes, our rationalizations—Hate cannot drive out hate. who gave the winter coat off his back to a lectures, or sermons to cultivate compassion. It takes Only love can do that. Qhomeless woman and then said: She needed it practice in all the moments of a day. Eleven years ago, two weeks after 9/11, my wife, more than me. If you’re thinking St. Francis, you’re close. What better antidote to the lingering trauma of Paula, and I began a journey around the world. It was Hint: This person cared for recovering alcoholics, 9/11 than this affirmation: The way of love has not been a sabbatical planned nearly a year before. We visited 10 the homeless, the hungry, the sick, injured, and grieving. forsaken. The way of light and hope has not been different countries over 100 days. Few Americans were He cared for immigrants, gays, and lesbians. He once forgotten. The way of forgiveness is still being taught traveling at that time. Most tours had been cancelled. knelt beside a man dying of AIDS and when that dying in a post-9/11 world. Many tourists stayed home. man asked if God hated him, the one kneeling picked No, forgiveness is not easy. And no, it doesn’t In each country we visited—from New Zealand, him up, kissed him, and silently rocked him in his arms. mean you forget what happened to you. And no, it to Kenya, to Greece, Spain and Ireland—our hosts and If you’re still thinking St. Francis, you’re still close doesn’t mean you let people walk over you or beat strangers greeted us with words of deep sympathy for because St. Francis was known to America. We were honored have embraced lepers as though and humbled to receive such they were the Beloved Christ. gestures of goodwill on behalf Alright. One more hint: of our country. This person is the same It seemed the world was person who on 9/11 rushed on the threshold of a new day. into the North Tower of the America’s gaping wound had World Trade Center to offer opened up a moment of grace. prayers for the dying only to The world saw the mightiest die himself from flying debris. nation hurting and humbled; That person would become the no longer invincible but, just first officially recorded fatality like every other nation, vulner- of 9/11. No, of course, it’s not able to profound suffering. St. Francis. It is Father Mychal In that poignant moment Judge, a priest in the Order a song buried deep in the of Franciscan Minors and long- world’s collective heart arose. time chaplain of the New York Not a song of victory or City Fire Department. © Shannon Stapleton vindication or war; but rather Father Judge wasn’t born a song of peace, a song of with an instinct to rush into burning buildings. But, as you up. To forgive, or to be willing to forgive, means peace for all the nations. And if you heard it, please it turns out, he was nurtured in the spirit of St. Francis, you believe the past can be transformed by grace. It don’t forget it. Never let it go. It’s sung in many different a spirit encapsulated in the prayer attributed to the saint. means we can be set free from crippling resentments. ways. Here’s one. And, by the way, you don’t have to be a priest or even a Eleven years ago on September 11, enemies of our Christian to make it your prayer or, better yet, to make it nation danced for joy as we reeled from a devastating This Is My Song your true vocation. attack. They weren’t the first or last to dance upon the This is my song, O God of all the nations, grave of an enemy. A song of peace for lands afar and mine. Make me a channel of your peace: In May last year, nearly 11 years after 9/11, This is my home, the country where my heart is; Where there is hatred, let me bring your love, Americans danced for joy over the death of Osama bin Here are my hopes, my dreams, my holy shrine; Where there is injury, your pardon, Lord, Laden. Sweet revenge. But, of course, it wasn’t sweet But other hearts in other lands are beating And where there’s doubt true faith in you. enough to cure the aching in many hearts. With hopes and dreams as true and high as mine. Glee over the death of one’s enemy is as old as the My country’s skies are bluer than the ocean Make me a channel of your peace: hills. Here’s a song 3,000 years old: I will sing to the And sunlight beams on cloverleaf and pine; Where there’s despair in life, let me bring hope, Lord, for he has triumphed gloriously; horse and rider But other lands have sunlight, too, and clover, Where there is darkness, only light, he has thrown into the sea. The Lord is a warrior. And skies are everywhere as blue as mine. And where there’s sadness, ever joy. For those who might think otherwise: That is not O hear my song, O God of all the nations, from the Quran. It’s from the Bible. A song of peace for their land and for mine. Father Judge wasn’t the first or the last to give up Does God intervene that way—to kill some and May truth and freedom come to every nation; his coat that another might be warm, or give a meal that spare others, or is that what certain people in a childish may peace abound where strife has raged so long; another might eat. He wasn’t the first or the last to bring frame of mind think God is like? Some of our ancestors that each may seek to love and build together, light into darkness, hope into despair, or pardon to the thought so, as do some of our current national leaders. a world united, righting every wrong; injured. He wasn’t the first to be a channel of peace or But it doesn’t mean we have to think like them.
Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Press Release (PDF)
    G A G O S I A N G A L L E R Y August 29, 2016 The critic and curator Philip Rawson, an eloquent guide to the means and methods of drawing over the ages, points out that until the Italian Quattrocento, no European sculptor was supposed to be able to draw. In the medieval period, only those sculptors who also worked in two dimensions drew habitually; any other sculptor who needed, say, to show a client a proposed design hired a draftsman to make one. And when sculptors began to make drawings (for their own use or to guide assistants), they tended to do so without thinking of the format of the paper as a frame to which the image should relate. Instead, the image was generally treated as an independent motif, composed of mutually related units and placed anywhere on the sheet. In this approach, the space of the paper outside the image was not incorporated into the design but functioned like the open, empty space around actual sculptures. ... In contrast, Rawson observes, painters' drawings have tended to treat the usually rectangular format of the paper as a frame to which the image content relates. —John Elderfield Gagosian Gallery is pleased to present “Plane.Site,” a cross-generational exhibition of modern and contemporary artists organized by Sam Orlofsky to inaugurate the San Francisco gallery. (Continue to page2) 6 5 7 H O W A R D S T R E E T S A N F R A N C I S C O C A 9 4 1 0 5 T .
    [Show full text]
  • 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.
    [Show full text]
  • 20-A Richard Diebenkorn, Cityscape I, 1963
    RICHARD DIEBENKORN [1922–1993] 20a Cityscape I, 1963 Although often derided by those who embraced the native ten- no human figure in this painting. But like it, Cityscape I compels dency toward realism, abstract painting was avidly pursued by us to think about man’s effect on the natural world. Diebenkorn artists after World War II. In the hands of talented painters such leaves us with an impression of a landscape that has been as Jackson Pollack, Robert Motherwell, and Richard Diebenkorn, civilized — but only in part. abstract art displayed a robust energy and creative dynamism Cityscape I’s large canvas has a composition organized by geo- that was equal to America’s emergence as the new major metric planes of colored rectangles and stripes. Colorful, boxy player on the international stage. Unlike the art produced under houses run along a strip of road that divides the two sides of the fascist or communist regimes, which tended to be ideological painting: a man-made environment to the left, and open, pre- and narrowly didactic, abstract art focused on art itself and the sumably undeveloped, land to the right. This road, which travels pleasure of its creation. Richard Diebenkorn was a painter who almost from the bottom of the picture to the top, should allow moved from abstraction to figurative painting and then back the viewer to scan the painting quickly, but Diebenkorn has used again. If his work has any theme it is the light and atmosphere some artistic devices to make the journey a reflective one. of the West Coast.
    [Show full text]
  • In Living Color: Andy Warhol & Contemporary Printmaking
    NEWS RELEASE 2200 Dodge Street, Omaha, Nebraska 68102 Phone: 402-342-3300 Fax: 402-342-2376 www.joslyn.org For Immediate Release Contact: Amy Rummel, Director of Marketing and Public Relations October 3, 2014 (402) 661-3822 or [email protected] Andy Warhol & Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation Exhibition of Pop Art Premieres at Joslyn Art Museum (Omaha, NE) – Reflecting a range of aesthetic concerns and conceptual underpinnings, In Living Color: Andy Warhol and Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation highlights artists who invest in the power of their palettes. Dispatching a seemingly endless array of colors, Andy Warhol depicted the world with the volume turned up. His example reverberates throughout contemporary printmaking. This exhibition, organized and traveled by Joslyn Art Museum, includes over 110 -more- IMAGE ABOVE: Andy Warhol (American, 1928-1987), Marilyn Monroe (Marilyn) (II.25), AP edition C/Z, 1967, screen print, 36 x 36 inches, Collection of the Jordan Schnitzer Family Foundation, 2001.51d; © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York; Marilyn Monroe™; Rights of Publicity and Persona Rights: The Estate of Marilyn Monroe, LLC add 1-1-1-1 In Living Color: Andy Warhol & Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation works by Warhol and 16 other artists working since 1945, including John Baldessari, Ross Bleckner, Louise Bourgeois, Helen Frankenthaler, Keith Haring, and Richard Diebenkorn. In Living Color premieres nationally at Joslyn Art Museum on October 11 and continues through January 11.
    [Show full text]
  • Lovell, Wayne Thiebaud's California
    ISSN: 2471-6839 Cite this article: Margaretta M. Lovell, “City, River, Mountain: Wayne Thiebaud’s California,” Panorama: Journal of the Association of Historians of American Art 3, no. 2 (Fall 2017), https://doi.org/10.24926/24716839.1602. City, River, Mountain: Wayne Thiebaud’s California Margaretta M. Lovell , Jay D. McEvoy, Jr., Professor of American Art, University of California, Berkeley For decades now, art historians, critics, art enthusiasts, gallerists, and readers of The New Yorker have been very familiar with Wayne Thiebaud’s cakes, pies, deli counters, and gum ball machines. His reputation was firmly established with food paintings such as Around the Cake and Delicatessen Counter in the early 1960s (figs. 1, 2). Usually associated loosely (and somewhat erroneously) with the Pop Art movement, these upbeat paintings with their bright colors, their common everyday, very American food subjects, sly geometry, shallow depth of field, and wry humor are frequently exhibited, published, and commented on.1 Less well-known, and virtually unremarked on by art historians, are the extraordinary landscapes that have resulted from his pursuit of this genre. This essay touches on continuities between Thiebaud’s food paintings and his landscape paintings, and on the ways his landscapes broach the seemingly irreconcilable differences between abstraction and representation. Centrally, it engages the ways in which his landscape paintings, focusing on the ecologies of California, engage major human concerns about place, space, and habitation. Figures 1, 2. Left: Wayne Thiebaud, Around the Cakes, 1962. Oil on canvas, 22 1/8 x 28 1/16 in. (56.2 x 71.2 cm).
    [Show full text]
  • About Henry Street Settlement
    TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America March 1– 5, Gala Preview February 28 FOUNDED 1962 Park Avenue Armory at 67th Street, New York City MEDIA MATERIALS Lead sponsoring partner of The Art Show The ADAA Announces Program Highlights at the 2017 Edition of The Art Show ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art. #TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017 To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement.
    [Show full text]
  • Selected Solo Exhibitions 2021 Richard Diebenkorn
    Selected Solo Exhibitions 2021 Richard Diebenkorn: Paintings and Works on Paper, 1948–1992, Berggruen Gallery, San Francisco, CA 2020 Richard Diebenkorn: Special Online Presentation (curated by Sasha Nicholas), Artsy (Online Exhibition) Richard Diebenkorn: Paintings and Works on Paper 1946–1952, Van Doren Waxter, New York, NY (Online Exhibition) Richard Diebenkorn: Special Presentation | Wartime Works 1943–1945, Van Doren Waxter, New York, NY (Online Exhibition) 2019 Richard Diebenkorn: Works on Paper, Leslie Feely, New York, NY Richard Diebenkorn: Ocean Park Works on Paper 1978–1991 | From a Private Collection, Van Doren Waxter, New York, NY 2017 Richard Diebenkorn: Works on Paper, 1955–1967, Van Doren Waxter, New York, NY Richard Diebenkorn: A Selection of Color Prints from the 1980s and 90s, Berggruen Gallery, San Francisco, CA Richard Diebenkorn: Beginnings, 1942–1955, Crocker Art Museum, Sacramento, CA Richard Diebenkorn: Works on Paper 1949–1992, L.A. Louver Gallery, Venice, CA Richard Diebenkorn: Etchings & Drypoints, Crown Point Press, San Francisco, CA Richard Diebenkorn: Early Prints, 871 Fine Arts, San Francisco, CA Green by Richard Diebenkorn: The Story of a Print, Crown Point Press, San Francisco, CA 2016 Richard Diebenkorn: Early Color Abstractions 1949–1955, Van Doren Waxter, New York, NY 2015 Richard Diebenkorn: The Sketchbooks Revealed, Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, CA Richard Diebenkorn Prints: Celebrating an Acquisition, California Palace of the Legion of Honor, San Francisco, CA Richard Diebenkorn, Royal Academy of Arts, London, UK 2014 Richard Diebenkorn: The Healdsburg Years, 1988–1993, Van Doren Waxter, New York, NY Closely Considered: Diebenkorn in Berkeley, Richmond Art Center, Richmond, CA 2013 The Intimate Diebenkorn: Works on Paper, 1949–1992, Fine Arts Gallery, College of Marin, Kentfield, CA Richard Diebenkorn: The Berkeley Years, 1953–1966, de Young, Fine Arts Museums of San Francisco, San Francisco, CA.
    [Show full text]
  • Oral History Interview with Louis Mueller, 2014 June 24-25
    Oral history interview with Louis Mueller, 2014 June 24-25 Funding for this interview was provided by the Artists' Legacy Foundation. 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 Louis Mueller on June 24-25, 2014. The interview took place in New York, NY, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Archives of American Art's Viola Frey Oral History Project funded by the Artists' Legacy Foundation. Louis Mueller, Mija Riedel, and the Artists' Legacy Foundation have reviewed the transcript. Their corrections and emendations appear below in brackets appended by initials. The reader should bear in mind they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Louis Mueller at the artist's home in New York [City] on June 24, 2014 for the Smithsonian Archives of American Art. This is card number one. Let's get the autobiographical information out of the way and we'll move on from there. LOUIS MUELLER: Okay. MS. RIEDEL: —what year were you born? MR. MUELLER: I was born June 15, 1943 in Paterson, NJ . MS. RIEDEL: And what were your parents' names? MR. MUELLER: My mother's name was Loretta. My father's name was Louis Paul. MS. RIEDEL: And your mother's maiden name? MR. MUELLER: Alfano. MS. RIEDEL: Any siblings? MR. MUELLER: No.
    [Show full text]
  • Grayson Perry Brit Punk Transvestite Pottery Genius Pg
    JUN/JUL/AUG 2013 www.galleryandstudiomagazine.com VOL. 15 NO. 5 New York GALLERYSTUDIO Grayson Perry Brit Punk Transvestite Pottery Genius pg. 8 ) . Picture Credit: Photo Rob Weiss Credit: ) . Picture 78 1996 photographic print, H. 71x W. 48 (30 x 18 1996 photographic print, H. 71x W. Pollock Death Car Girl Ruth Kligman an excerpt from Ed McCormack’s HOODLUM HEART pg. 14 claire as the mother of all battles, $XJXVW 6HSWHPEHU 2SHQLQJ5HFHSWLRQ7KXUVGD\$XJXVWSP O3ULQWµ[µ 'DYLG5HLQIHOG5HFRQVWUXFWHG6HULHV3LJPHQW,QN'LJLWD µ[µ 1DWDOL.DUSSLQHQ,FH4XHHQ3KRWRJUDSKLF3ULQWRQ'LERQG Salon Show 2013 Fine Arts, Photography, Craft / Multimedia Exhibit June - July, 2013 Reception: June 22, 2:30 - 5:30 pm Curators: Margo Mead & Linda Lessner +G Artists: Carole Barlowe • Daniel C. Boyer Silvia Soares Boyer • Richard Carlson Arthur Cajigas • Rosa Alfaro Carozzi +I Robert Eckel • Jutta Filippelli Arlene Finger • George Jellineck :ĞŶŶŝĨĞƌ&ĞƌĚŝŶĂŶĚƐĞŶ^ƵƐĂŶŶĂŚsŝƌŐŝŶŝĂ'ƌŝĸŶ Linda Lessner • Margo Mead EĂƚĂůŝ<ĂƌƉƉŝŶĞŶ&ƌĞĚDŽƵ Michelle Ordynans • Dammika Ranasinghe Dimuthu N. Ranasinghe • Peter Schultz Monique Serres • et al :HVWWK6WUHHW1HZ<RUN )D[ %URDGZD\0DOO&RPPXQLW\&HQWHU ZZZ$JRUD*DOOHU\FRP %URDGZD\#6W 1<& &HQWHU,VODQG LQIR#$JRUD*DOOHU\FRP *DOOHU\+RXUV:HGSP6DW6XQSP [email protected] 212-316-6024 www.wsacny.org -FNPVWFNFOU"SUEBOTM䝐USF)VNBJO <࠳ݢ౟ޖझ1BSJT೧৻ౠ߹੹<ോݢی೐ 1BSJT(BMMFSZ +VOF_+VMZ "1 WFOVF%BVNFTOJM BSJT'SBODF 0QFOJOH 1BSUZQN +VOFUI .FUSP(BSFEF-ZPO #BTUJMMF "SUJTU #PNJ,*. ,XBOH 4BLJSPP #PPU+JM $IVOIP80/ +VOHNJO-&& ;PPLJ 4VOHTJL-&& %PBN 4VOHLVH,*. ,JXPVO4)*/ *M)XB)POH )POHTV)"/ 0SHBOJ[BUJPO Indian Artist Sunjoy Jeergall is Ready for His Close-up ndian art is the newest art Iworld discovery. In the past few years, modernist Indian masters such as F.N.
    [Show full text]
  • Press Release
    Crown Point Press FOR IMMEDIATE RELEASE Contact: Valerie Wade Three California Masters: Robert Bechtle, Richard Diebenkorn, and Wayne Thiebaud Figures & Landscapes December 13, 2018 - February 2, 2019 Crown Point Press announces Three California Masters, an exhibition featuring etchings by Robert Bechtle, Richard Diebenkorn, and Wayne Thiebaud. On view from December 13th until February 2nd, it focuses on figures and landscapes. Robert Bechtle, who lives in San Francisco, is known for his photorealist approach to painting and is a pioneer of the genre. Wayne Thiebaud works from life and from memory in his unique illustrative style. Although his depiction of commonplace objects has been associated with Pop Art, Thiebaud describes himself as “just an old-fashioned painter.” Both Bechtle and Thiebaud were influenced by Richard Diebenkorn, an important leader in the Bay Area figurative movement. Printmaking has been an integral part of the creative careers of all three painters. This exhibition features prints that each artist has created in the Crown Point Press studio since the nineteen-sixties. Early works include Robert Bechtle’s ‘60s T-Bird (1967), two prints from Richard Diebenkorn’s 41 Etchings Drypoints (1965), and Wayne Thiebaud’s Cherry Stand, from the book Delights (1964). Robert Bechtle works from his photographs of Bay Area residential neighborhoods. He first worked at Crown Point Press in 1967. His project at that time was originally titled The Alameda Book after the town he grew up in, but he did not release it then. Forty-four years and one earthquake later, the unpublished copper plates from The Alameda Book were found during a cleaning of the Crown Point studio basement and ’60 T- Bird emerged as one of the survivors.
    [Show full text]
  • The Ucla Medal Recipients, 1979 - Present (Chronological)
    THE UCLA MEDAL RECIPIENTS, 1979 - PRESENT (CHRONOLOGICAL) 1979 Special Ceremony, Golden Year Celebration, September 16, 1979 William Coit Ackerman ’24, UCLA pioneer, coach John E. Canaday ’27, former president, UCLA Alumni Association, UC regent 1980 Special Ceremony, Charter Day, March 2, 1980 J.D. Morgan ’41, director, Intercollegiate Athletics Commencement, June 15, 1980 Gordon H. Ball, professor, zoology Joseph Kaplan, professor, geophysics Earl J. Miller, professor, economics Flora Murray Scott, professor, botanical sciences Marion A. Zeitlin, professor, Spanish Special Ceremony, Reception in Honor of Byron Atkinson, September 29, 1980 Byron Harry Atkinson ’40, M.A. ’50, Ed.D. ’60, administrator 1981 Commencement, June 21, 1981 Warren Minor Christopher, attorney and diplomat Shirley Ann Mount Hufstedler, attorney and judge William Polk Longmire, Jr., founder, UCLA department of surgery 1982 Commencement, June 20, 1982 Simon Ramo, co-founder of TRW Richard Callender Maxwell, former dean, UCLA School of Law Dorothy Buffum Chandler, arts patron and UC regent 1983 Commencement, June 19, 1983 Tom Bradley ’41, mayor, City of Los Angeles Elinor Raas Heller, UC regent Laurence Olivier, actor David Stephen Saxon, president emeritus, University of California 1984 Commencement, June 17, 1984 Anna Bing Arnold ’40, philanthropist and humanist Franklin David Murphy, UCLA chancellor emeritus Isaac Bashevis Singer, author and Nobel Prize recipient 1985 Commencement, June 16, 1985 Carol Burnett ’54, actress Edward William Carter ’32, businessman and UC regent John Robert Wooden, former UCLA men's basketball coach Page 1 of 10 UCLA Special Events and Protocol • 10920 Wilshire Boulevard, Suite 1520 • Los Angeles, CA 90024 THE UCLA MEDAL RECIPIENTS, 1979 - PRESENT (CHRONOLOGICAL) 1986 Commencement, June 22, 1986 Robert Howard Ahmanson ’49, president, Ahmanson Foundation John Hope Franklin, historian William W.
    [Show full text]