Wyeth Press Kit Final 8.10 Pressroom Version

Total Page:16

File Type:pdf, Size:1020Kb

Wyeth Press Kit Final 8.10 Pressroom Version WYETH Directed by Glenn Holsten Produced by Chayne Gregg WYETH TO PREMIERE AS PART OF AMERICAN MASTERS “ARTISTS FLIGHT” SERIES ON FRIDAY, SEPTEMBER 7, 10:00 P.M. ON PBS (check local listings) Streaming September 8 on pbs.org/americanmasters and on PBS apps Digital HD September 8 and on DVD September 11 via PBS Distribution MEDIA ONLY: For further information and photos, visit: https://www.thirteen.org/13pressroom/press-release/american-masters-wyeth/ Trailer & more: http://www.pbs.org/wnet/americanmasters/wyeth/10443/ WYETH : SYNOPSIS The life of Andrew Wyeth in bold strokes. WYETH tells the story of one of America’s most popular, but least understood, artists — Andrew Wyeth. Son of the famous illustrator N.C. Wyeth, Andrew had his first exhibition at age 20, and his painting “Christina’s World” was acquired by the Museum of Modern Art in 1948. While Wyeth’s exhibitions routinely broke attendance records, art world critics continually assaulted his work. Detailing the stunning drawings and powerful portraits he created in Chadds Ford, Pa. and on the coast of Cushing, Maine, WYETH explores his inspirations, including neighbor Christina Olsen and his hidden muse, the German model Helga Testorf, who he painted secretly for 15 years. Through unprecedented access to Wyeth’s family members, including sons Jamie and Nicholas Wyeth, and never-before-seen archival materials from the family’s personal collection and hundreds of Wyeth’s studies, drawings and paintings, American Masters presents the most complete portrait of the artist yet — bearing witness to a legacy just at the moment it is evolving. WYETH : DIRECTOR’S STATEMENT Like many, I grew up knowing only of “Christina’s World” — the haunting painting of a young woman crawling up a hill towards a house. I purchased a postcard of the painting when I visited the Museum of Modern Art in NYC as a teenager and carried it with me for years — it even hung on my bulletin board in my college dorm room for a while. I know I am not alone when I say that something about the painting spoke to me that was quite visceral, but difficult to articulate. Fast forward to me as a young filmmaker in the mid-1990s, when I was contacted by painter Bo Bartlett to help him create a documentary film about Andrew Wyeth. The film, titled Snow Hill (after one of Andrew Wyeth’s paintings), was commissioned by the artist’s wife, Betsy Wyeth. Betsy Wyeth was the force behind much of the storytelling about Andrew Wyeth that was created during his lifetime. Working on Snow Hill was my first introduction to Wyeth’s world. I journeyed with Bo to Chadds Ford many times. I met Andrew Wyeth (briefly) and went to meetings with Betsy Wyeth in the one-room schoolhouse that she had transformed into her office. At night, I sifted through his father N.C. Wyeth’s letters, and helped Bo shape a script for the film. It was all very thrilling. “Snow Hill” does a beautiful job of seeing Wyeth’s world through Andrew Wyeth’s eyes. In truth (thanks to his business manager wife, Betsy Wyeth), Andrew Wyeth’s life has been well documented. There have been dozens of books and museum catalogs written about him over a span of decades. He painted from his teens in the 1920s until shortly before his death at 92 in 2009. That’s a lot of living, and a lot of painting. However, with the exception of Snow Hill , which was made while Andrew Wyeth was alive, there has not yet been a film that took stock of the totality of his life. WYETH is the first documentary that explores the full scope of Andrew Wyeth’s life and artistic method — not only showcasing his amazing body of work, but detailing his approach to art making: how he would immerse himself in worlds connected to, but far different from, his own, including the Kuerner family and the African American community in his Chadds Ford neighborhood, or the Olson family in Maine. Throughout his life, he confidently painted his world — the people and places he knew in Pennsylvania and Maine — despite the dramatic evolution of the art world that shunned him. In 2002 I made a film about another great Philadelphia painter, Thomas Eakins, who pursued his goals in art and life with unswerving determination. I admired Eakins’ passionate pursuit of truth in painting, and in Andrew Wyeth I recognized that same flame. In capturing images to tell this story, director of photography Phil Bradshaw and I needed only to look to the work for inspiration. WYETH captures the painter’s world with sweeping, panoramic views of the Brandywine River Valley that echo Wyeth’s own cinematic approaches to picture making: extreme low angles, detailed shots of the woods in which he walked and dreamed as a child; gentle dolly and crane shots that move through the interior and exterior spaces that Wyeth experienced, imitating his sense of exploration and revealing his camera-like eye. We were most inspired, however, by Wyeth’s mastery of light. Windows appear in all of our interviews, our graphics genius Jason Harmon created window light effects on our archival materials (if you look closely, you will detect window frame shadows subtly passing over newspaper headlines). All of these choices build a film world that is both delicate and strong, inspired by Andrew Wyeth’s work. I am immensely grateful to visionaries at The Brandywine Museum of Art in Chadds Ford and the Farnsworth Museum in Rockland, Maine, who had the foresight to preserve and maintain the places of significance in Andrew Wyeth’s life. In addition to wonderful storytellers — sons Jamie and Nicholas Wyeth, friend and colleague Mary Landa, muse and model Helga Testorf, art historians and curators — we had access to key places that made up the artist’s world, including the N.C. Wyeth House and Studio, the Andrew Wyeth Studio, the Kuerner Farm — a 33-acre property that inspired much of his work over decades, and in which many of the Helga paintings were created — and the Olson House in Cushing, Maine, the site of the famous “Christina’s World.” Filming in these locations was like stepping into art history. In post-production, producer Chayne Gregg and I worked closely with editor Vic Carreno and composer Michael Aharon to shape a story that was revealed layer by layer, much in the way Andrew Wyeth created his exquisite master paintings – meticulous study followed by layer upon layer of tempera. I made this film in hopes that audiences would discover the depth and richness in an artist that they thought they knew, but perhaps never really took the time to understand. DIRECTOR GLENN HOLSTEN ANDREW WYETH BIOGRAPHY ANDREW WYETH BIOGRAPHY I’m just appalled and amazed at the way in which people are interested in my paintings. I think it’s because I happen to paint things that reflect the basic truths of life: sky, earth, friends, the intimate things. People are drawn to my work by common feelings that go beyond art. A.W. quoted in Time magazine, February 24, 1967 American painter Andrew Wyeth (1917-2009) spent his entire life in his birthplace of Chadds Ford, Pennsylvania, and his summer home in mid-coast Maine, rarely venturing beyond these two regions. His seven-decade career was spent painting the land and people that he knew and cared about. Throughout his career, Wyeth steadfastly followed his own vision of representational art. Careful observation reveals that while the works depict realistic imagery, the artist made skillful choices to convey his own version of place, of story and of emotion. Not tempted by the parallel rise of abstract expressionism, Wyeth has received both great success and sharp criticism. The artist’s 1948 tempera “Christina’s World” is one the best-known American paintings of the 20 th century. The artist’s legacy is preserved by his wife, Betsy James Wyeth, their sons Nicholas, an art dealer, and Jamie, also a painter, and Nicholas’s daughter, Victoria. Research for the artist’s catalogue raisonné is ongoing with up-to-date information announced at www.andrewwyeth.com . ANDREW WYETH CHRONOLOGY 1917 Born July 12 in home of his parents, Chadds Ford, PA. Mother was Carolyn Brenneman Bockius. Father was Newell Convers (N.C.) Wyeth, a distinguished illustrator. Wyeth is the last of five siblings - Henriette (born 1907), Carolyn (born 1909), Nathaniel (born 1911), and Ann (born 1915). 1920s The family spends each summer in Maine, eventually purchasing a property in Port Clyde. 1923-29 Educated at home by tutors. 1932 Accepted into his father’s studio as an apprentice. Two of N.C.’s other students, John McCoy and Peter Hurd, will eventually marry Ann and Henriette. 1933 Began painting and drawing at the Kuerner property in Chadds Ford. 1934 Andrew and his father being experimenting with tempera painting, encouraged by Peter Hurd, the artist married to Andrew’s sister Henriette. 1935 Work by the Wyeth Family , Philadelphia Art Alliance, Pennsylvania, March 25 – April 19. The artist’s father N.C. and sisters Henriette and Carolyn also represented the family here. 1937 First one-man exhibition at Macbeth Gallery in New York at age 20. All paintings were sold. 1939 Watercolors by Andrew Wyeth , Currier Gallery of Art, Manchester, New Hampshire, April. The artist’s first solo exhibition at a museum. Met Betsy Merle James, who in turn introduced him to model Christina Olson, July. 1940 Married Betsy James in her hometown of East Aurora, NY. The two settle in Chadds Ford and continue to spend summers in Maine.
Recommended publications
  • Underserved Communities
    National Endowment for the Arts FY 2016 Spring Grant Announcement Artistic Discipline/Field Listings Project details are accurate as of April 26, 2016. For the most up to date project information, please use the NEA's online grant search system. Click the grant area or artistic field below to jump to that area of the document. 1. Art Works grants Arts Education Dance Design Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts 2. State & Regional Partnership Agreements 3. Research: Art Works 4. Our Town 5. Other Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of April 26, 2016. Arts Education Number of Grants: 115 Total Dollar Amount: $3,585,000 826 Boston, Inc. (aka 826 Boston) $10,000 Roxbury, MA To support Young Authors Book Program, an in-school literary arts program. High school students from underserved communities will receive one-on-one instruction from trained writers who will help them write, edit, and polish their work, which will be published in a professionally designed book and provided free to students. Visiting authors, illustrators, and graphic designers will support the student writers and book design and 826 Boston staff will collaborate with teachers to develop a standards-based curriculum that meets students' needs. Abada-Capoeira San Francisco $10,000 San Francisco, CA To support a capoeira residency and performance program for students in San Francisco area schools. Students will learn capoeira, a traditional Afro-Brazilian art form that combines ritual, self-defense, acrobatics, and music in a rhythmic dialogue of the body, mind, and spirit.
    [Show full text]
  • Sheehan Maine Art 2017
    Keenan Boscoe In 2014 I had the privilege of visiting the National Gallery of Art in Washington DC. Being a junior in high school I had no background knowledge regarding the specific exhibitions being shown at the time, I only knew I had a general interest in art and I wanted to spend some time in a new art museum. When I stumbled upon the National Gallery’s exhibition on Andrew Wyeth I don’t think I saw any other parts of the museum that day. The exhibition, titled Andrew Wyeth: Looking Out, Looking In, captivated me, and for the first time I asked my parents if we could take home an exhibition catalogue. In the following year I then used Wyeth’s work as inspiration for my own paintings, and dedicated my senior year of high school to a concentration in response to this exhibition. When I learned Colby was partnering with the Wyeth’s to have select classes visit Allen island I was immediately captivated. Sophomore year I tried to accompany the chemistry department to no avail, before specifically signing up for AR347: Art and Maine so I could travel to the location. Although my expectations were set extremely high (thanks to my own engagement with the mythos surrounding the island) I truly had the experience of a lifetime. Being able to visit the landscape that inspired one of my greatest artistic influences was illuminating, and helped me understand Andrew’s work in a way I could have never achieved without this trip. Not to mention being able to meet Jamie Wyeth, and speaking with him both about his artwork and working in Maine.
    [Show full text]
  • Oral History Interview with Raymond J. Horowitz, 2004 Oct. 20-Nov. 5
    Oral history interview with Raymond J. Horowitz, 2004 Oct. 20-Nov. 5 Funding for this interview provided by the New Land Foundation. 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 tape-recorded interview with Raymond Horowitz on October 20, 29, and november 5, 2004. The interview took place at his apartment on Fifth Avenue in New York, NY, and was conducted by Avis Berman for the Archives of American Art, Smithsonian Institution. Funding for this interview provided by the New Land Foundation. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview AVIS BERMAN: Avis Berman, interviewing Raymond J. Horowitz for the Archives of American Art History Program, October 20th, 2004, in his apartment on Fifth Avenue. And would you begin by stating your full name and date of birth? RAYMOND HOROWITZ: Raymond J. Horowitz, and the date of birth is May 7, 1916. MS. BERMAN: My goodness, so you must be drinking monkey glands. From looking at you, I wouldn't have known. Now, would you begin by telling me about your family background, including your mother's maiden name? MR. HOROWITZ: My mother's maiden name- MS. BERMAN: Her name, actually. MR. HOROWITZ: Her name was Sadie Freiman. My father is-was Israel S.
    [Show full text]
  • Celebrating Andrew Wyeth the American Artist’S Centennial Is Being Honored with Two Major Retrospectives of His Work
    along the way Celebrating Andrew Wyeth The American artist’s centennial is being honored with two major retrospectives of his work. Andrew Wyeth may have been a favorite of U.S. presidents. In 1963, he became the first painter to receive the Presidential Medal of Freedom when John F. Kennedy bestowed the honor. Richard Nixon once sponsored a White House exhibition of works by the Pennsylvania- and Maine- based artist, and both Bushes honored Wyeth, with the Congressional Gold Medal in 1990 and the National Medal of the Arts in 2007. At the other end of the spectrum, comic- strip character Snoopy owned a Wyeth that he displayed prominently in his doghouse. In between, the artist was alternately lauded and dismissed by critics but remained a perennial commercial favorite. This year marks the centennial of Wyeth’s birth, and two major museum retrospectives have been assembled NORTH CAROLINA MUSEUM OF ART, RALEIGH ART, OF MUSEUM CAROLINA NORTH ©ANDREW WYETH/ARTISTS RIGHTS SOCIETY (ARS), RIGHTS WYETH/ARTISTS ©ANDREW for the occasion. Andrew Wyeth at 100 can be seen at Winter 1946, tempera, Andrew Wyeth (1917-2009) the Farnsworth Art Museum in Rockland, Maine, through December 31 (farnsworthmuseum.org), and Andrew in Andrew Wyeth: Maine Watercolors, 1938–2008, the focal Wyeth: In Retrospect is on display through September exhibition in a series of five exhibitions that make upAndrew 17 at the Brandywine River Museum in Chadds Ford, Wyeth at 100, on display at the museum’s Wyeth Center and in Pennsylvania (brandywinemuseum.org), and from October its Hadlock and Wyeth Study Center galleries.
    [Show full text]
  • 14, M/W 4:30 –7:10Pm Office: SOA 2016 Email: [email protected] Office Hours: M/W: 8:30-9:30Am/7:30-8:30Pm
    AVT 323 Drawing II Instructor: Helen C. Frederick Fall 2014, M/W 4:30 –7:10pm Office: SOA 2016 Email: [email protected] Office Hours: M/W: 8:30-9:30am/7:30-8:30pm This syllabus is posted on the SOA website at soa.gmu.edu under academics. Graduate students must pursue their own course of study with pre-ordained projects throughout the semester. The graduate student to their professor may propose desired objectives and mediums in addition to those in the course. The professor and graduate student work together to finalize a plan of advanced study. Graduate students will attend all reviews and critiques of student work, adding their voice and commenting on individual progress and solutions in bookmaking. Graduate students will honor the AVT 346 schedule. Please see syllabus and schedule of classes attached. GRADING: Graduate student work will be reviewed during the semester and a final grade of A+/A/A-/B+/B/B-/C/F will be submitted for work produced. Purpose: This course is intended as an upper level and graduate level collaboration to blow open drawing possibilities. While sustaining dialogue about the standards and attitudes of drawn media to provide ways of developing concepts and technical approaches for creating works of art, students will also test alternate drawing approaches. First we will work on several projects to acquire skills for materials, process and equipment. Students may practice reductive and additive techniques in preparing paper surfaces for non-objective and representational imagery. Students will develop ways to explore their imagery through presentations by visiting artists.
    [Show full text]
  • Ye Intruders Beware: Fantastical Pirates in the Golden Age of Illustration
    YE INTRUDERS BEWARE: FANTASTICAL PIRATES IN THE GOLDEN AGE OF ILLUSTRATION Anne M. Loechle Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of the History of Art Indiana University November 2010 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _________________________________ Chairperson, Sarah Burns, Ph.D. __________________________________ Janet Kennedy, Ph.D. __________________________________ Patrick McNaughton, Ph.D. __________________________________ Beverly Stoeltje, Ph.D. November 9, 2010 ii ©2010 Anne M. Loechle ALL RIGHTS RESERVED iii Acknowledgments I am indebted to many people for the help and encouragement they have given me during the long duration of this project. From academic and financial to editorial and emotional, I was never lacking in support. I am truly thankful, not to mention lucky. Sarah Burns, my advisor and mentor, supported my ideas, cheered my successes, and patiently edited and helped me to revise my failures. I also owe her thanks for encouraging me to pursue an unorthodox topic. From the moment pirates came up during one of our meetings in the spring of 2005, I was hooked. She knew it, and she continuously suggested ways to expand the idea first into an independent study, and then into this dissertation. My dissertation committee – Janet Kennedy, Patrick McNaughton, and Beverly Stoeltje – likewise deserves my thanks for their mentoring and enthusiasm. Other scholars have graciously shared with me their knowledge and input along the way. David M. Lubin read a version of my third chapter and gave me helpful advice, opening up to me new ways of thinking about Howard Pyle in particular.
    [Show full text]
  • 2B77958a.Pdf
    sargent, monet... and manet Elaine Kilmurray In December 2006, I went to Paris to look at a cache of over a thousand letters written to Claude Monet by fellow artists (Caillebotte, Mary Cassatt, Cézanne, Manet, Pissarro, Renoir, Rodin, Sisley), writers (Octave Mirbeau, Gustave Geffroy) and his principal dealer (Paul Durand-Ruel) that had remained in the collection of Monet’s descendents and were about to be auctioned. They had passed through generations of the Monet family and many were unreleased and/or unpublished. Those of us working on the John Singer Sargent catalogue raisonné project were particularly interested in seventeen letters from Sargent to Monet. There has always been a sense of the provisional in accounts of the relationship between the two artists, a scarcity of fixed points and an absence of detail. We wanted to see how illuminating these letters were and how helpful they might be in filling lacunae and deepening our understanding. The timing was fortuitous: we were engaged on research for Volume V of the catalogue raisonné, in which we would catalogue Sargent’s most ‘Impressionist’ paintings. At the Artcurial auction house, I spoke to Thierry Bodin, who had done initial transcriptions of all the letters for the sale catalogue to a daunting deadline. The members of the catalogue raisonné team have struggled with Sargent’s writing (especially when in French, Italian or Spanish) for decades, and it was gratifying to hear from M. Bodin that, while Octave Mirbeau’s tight, closely worked hand had given him the most trouble, Sargent’s had come a close second.
    [Show full text]
  • TELEVISION and VIDEO PRESERVATION 1997: a Report on the Current State of American Television and Video Preservation Volume 1
    ISBN: 0-8444-0946-4 [Note: This is a PDF version of the report, converted from an ASCII text version. It lacks footnote text and some of the tables. For more information, please contact Steve Leggett via email at "[email protected]"] TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1 October 1997 REPORT OF THE LIBRARIAN OF CONGRESS TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1: Report Library of Congress Washington, D.C. October 1997 Library of Congress Cataloging-in-Publication Data Television and video preservation 1997: A report on the current state of American television and video preservation: report of the Librarian of Congress. p. cm. þThis report was written by William T. Murphy, assigned to the Library of Congress under an inter-agency agreement with the National Archives and Records Administration, effective October 1, 1995 to November 15, 1996"--T.p. verso. þSeptember 1997." Contents: v. 1. Report -­ ISBN 0-8444-0946-4 1. Television film--Preservation--United States. 2. Video tapes--Preservation--United States. I. Murphy, William Thomas II. Library of Congress. TR886.3 .T45 1997 778.59'7'0973--dc 21 97-31530 CIP Table of Contents List of Figures . Acknowledgements. Preface by James H. Billington, The Librarian of Congress . Executive Summary . 1. Introduction A. Origins of Study . B. Scope of Study . C. Fact-finding Process . D. Urgency. E. Earlier Efforts to Preserve Television . F. Major Issues . 2. The Materials and Their Preservation Needs A.
    [Show full text]
  • Andrew Wyeth: in Retrospect June 24 Through September 17, 2017
    Andrew Wyeth: In Retrospect June 24 through September 17, 2017 Chadds Ford, PA—April 3, 2017—On June 24, the Brandywine River Museum of Art will open Andrew Wyeth: In Retrospect, the first major survey of the artist’s work in more than 40 years. The exhibition will feature over 100 works, spanning the entirety of the artist’s career: from the early watercolors that established his reputation to his final painting, Goodbye, completed just a few months before his death in 2009. The show also will include many of Wyeth’s studies, which were rarely exhibited in the artist’s lifetime and offer new insights into his creative process and approach. Co-organized by the Brandywine and the Seattle Art Museum, Andrew Wyeth: In Retrospect commemorates the centennial of the artist’s birth—in July—and provides the most in-depth presentation of the renowned artist’s diverse and prolific practice to date. Wyeth’s life extended from World War I—a period that sparked the imagination of the artist as a young boy—to the new millennium. This comprehensive retrospective examines four major periods in Wyeth’s career, taking inspiration from the artist’s own words likening his painting to “following a long thread leading like time to change and evolution.” The exhibition offers new interpretations of his work, including the lesser explored influences of popular film and images of war, and looks more closely at the relatively unstudied but numerous portrayals of African Americans from the Chadds Ford community. Andrew Wyeth: In Retrospect also provides a thorough comparison of his widely divergent approaches to watercolor—which inspired him to paint quickly and at times with abandon—and to his use of tempera, a more controlled medium, in which he slowly and deliberately built up layers of paint on panels.
    [Show full text]
  • Annual Report 2009
    Bi-Annual 2009 - 2011 REPORT R MUSEUM OF ART UNIVERSITY OF FLORIDA CELEBRATING 20 YEARS Director’s Message With the celebration of the 20th anniversary of the Harn Museum of Art in 2010 we had many occasions to reflect on the remarkable growth of the institution in this relatively short period 1 Director’s Message 16 Financials of time. The building expanded in 2005 with the addition of the 18,000 square foot Mary Ann Harn Cofrin Pavilion and has grown once again with the March 2012 opening of the David A. 2 2009 - 2010 Highlighted Acquisitions 18 Support Cofrin Asian Art Wing. The staff has grown from 25 in 1990 to more than 50, of whom 35 are full time. In 2010, the total number of visitors to the museum reached more than one million. 4 2010 - 2011 Highlighted Acquisitions 30 2009 - 2010 Acquisitions Programs for university audiences and the wider community have expanded dramatically, including an internship program, which is a national model and the ever-popular Museum 6 Exhibitions and Corresponding Programs 48 2010 - 2011 Acquisitions Nights program that brings thousands of students and other visitors to the museum each year. Contents 12 Additional Programs 75 People at the Harn Of particular note, the size of the collections doubled from around 3,000 when the museum opened in 1990 to over 7,300 objects by 2010. The years covered by this report saw a burst 14 UF Partnerships of activity in donations and purchases of works of art in all of the museum’s core collecting areas—African, Asian, modern and contemporary art and photography.
    [Show full text]
  • Book Reviews
    BOOK REVIEWS REFERENCE -byR. 0. Faher(Austin, Univer- The Dada Movement (1915-19231 by Marc Dachy (New sity of Texas Press, 1990, $19.95 paper) is a collection of York, SkiralRiioli, 1990, $85) is a tribute to a short-lived religious and magical texts placed in the tombs of important but historic moment in art history which changed the world. Egyptians for the purpose of helping the dead pass safely Dachy, who won the Grand Prix du Livre #Art 1990 on 23 through the dangers of the underworld to achieve an afterlife April 1990 at the Louwe Museum in Paris, certainly merits of bliss. This translation comes from the papyrus prepared the award. This is a stunning volume, signif~cantnot only for for the scribe Ani and contains nearly200spells, prayers, and its contents but also for its design. incantations, and over 140 fmely drawn vignettes to accom- Superbly illustrated with 120 color reproductions and pany the text. 228 black and white illustrations, the period is recaptured Last year I was stunned by the Book of the Dead bril- and critically analyzed from painting, object sculpture, col- liantly exhibited in the museum in Hannover, so moved that lage, photography, filnomaking, book designing, writing and I felt that the roots of many artists' books are involved in poetry from Barcelona to Berlin. It is an illustrated history these magical pages. Papyrus has a magical quality to begin which succeeds in creating an atmosphere of excitement and with--so it is with great joy to tell my readers that this book original thinking and creativity.
    [Show full text]
  • Case 19-10684-KG Doc 254 Filed 04/30/19 Page 1 of 586 Case 19-10684-KG Doc 254 Filed 04/30/19 Page 2 of 586
    Case 19-10684-KG Doc 254 Filed 04/30/19 Page 1 of 586 Case 19-10684-KG Doc 254 Filed 04/30/19 Page 2 of 586 EXHIBIT A Hexion Holdings LLC, et al. - U.S.Case Mail 19-10684-KG Doc 254 Filed 04/30/19 Page 3 of 586 Served 4/26/2019 0197 CANTOR SVC 0235 RBCCA 0274 CGM/SAL BR ATTN: BRIAN GRIFFITH ATTN: STEVE SCHAFFER ATTN: SHERYL NASH-COOK 135 E 57TH ST 60 S 6TH ST, P09 388 GREENWICH ST, 11TH FL NEW YORK, NY 10022 MINNEAPOLIS, MN 55402-4400 NEW YORK, NY 10013 0374 JMS LLC 0397 CITADEL 0750 INTL FCSTONE, INC. C/O MEDIANT COMMUNICATION ATTN: RACHEL GALDONES ATTN: KEN SIMPSON ATTN: MARK F. GRESS 131 S DEARBORN ST 2 PERIMETER PARK S, STE 100-W 200 REGENCY FOREST DR CHICAGO, IL 60603 BIRMINGHAM, AL 35243 CARY, NC 27518 0793 STIFEL 10EQS CONSULTING SERVICES NORTH AMERICA 180 E BROAD PARTNERS LLC ATTN: CHRIS WIEGAND 965 SOUTH LOS ROBLES AVE 150 EAST BROAD ST, STE 800 501 N BROADWAY PASADENA, CA 91106 COLUMBUS, OH 43215 ONE FINANCIAL PLAZA ST. LOUIS, MO 63102 180 EAST BROAD LLC 180 EAST BROAD LLC 180 EAST BROAD LLC 40 MORRIS AVE, STE 230 C/O ALLIANCE HSP PARTNERS P.O. BOX 782397 BRYN MAWR, PA 19010 40 MORRIS AVE, STE 230 PHILADELPHIA, PA 19178-2397 BRYN MAWR, PA 19010 180 EAST BROAD PARTNERS LLC 1845 OIL FIELD SERVICES 1978 49 MORRIS AVE, STE 230 P.O. BOX 202056 DAMESIA CROCKER BYN MAWR, 19010 43215 DALLAS, TX 75320-2056 7845 CO RD 32 PINE HILL 2020 BRAND SOLUTIONS 2209 BNYM/SPDR 2372892 ONTARIO LTD (O/A LEAF ENGINEERED WO 135 GRAND AVE EAST ATTN: JENNIFER MAY 1068 GREENGATE CIR SOUTH SAINT PAUL, MN 55075 525 WILLIAM PENN PL, STE 153-0400 THUNDER BAY, ON P7J 1H8 PITTSBURGH, PA 15259 24 HR SAFETY LLC 2424 JPMCB/CTC 2785 EAST COTTONWOOD PARKWAY SUITE 500 P.O.
    [Show full text]