DOCSLIB.ORG

A Pilot Study in Language Learning. a New York State Urban

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Pilot Study in Language Learning. a New York State Urban DOCUMENT RESUME ED 037 725 AL 002 353 II TLF The Language DevelopmentProject; A Pilot Study in Language Learning. A New York StateUrban Aid Projectt, End-Year Report, June30, 1969. INSTITUTION New York City Board ofEducation, Brooklyn, N.Y. SPONS AGENCY New York State Education Dept.,Albany. PUB DATE 30 Jun 69 NOTE 97p. FDRS PRICE EDRS Price MF-$0.50 HC NotAvailable from EDRS. DESCRIPTORS *Bilingual Education, DisadvantagedYouth, *English (Second Language), Inservice TeacherEducation, Language Development,Linguistic Theory, Parent Participation, Primary Grades, PuertoRicans, *Tenl, Workshops ABSTRACT The format of this reportis similar to that of other reports on The LanguageDevelopment Project. See AL 002 352and 354 for descriptions of theproject and the format of the reports. [Not available in hard copydue to marginal legibility of the original document. ](DO) THE LANGUAGE DEVELOPMETT PROJECT A Pilot Study in Language Learning A New York State Urban Aid Project U.S. DEPARTMENT OF HEALTH,EDUCATION & WELFARE OFFICE Of EDUCATION THIS DOCUMENT HAS BEEN REPRODUCEDEXACTLY AS RECEIVED FROM THE POINTS Of VIEW OR OPINIONS PERSON OR ORGANIZATION ORIGINATINGIT. OFFICIAL OFFICE OF EDUCATION STATED DO NOT NECESSARILY REPRESENT POSITION OR POLICY. ENDYEAR REPORT June 30, 1969 Dr. Bernard E. Donovan, Superintendent of Schools Helene M. Lloyd, Assistant Superintendent Eugene C. Gibney, Project Director Board of Education of the City of New York r Lc% N. BOARD OF EDUMION OF THE CITY OF NE'l YORK N. 110 Livingston Street - Brooklyn, Few York PC\ CD LANGUAGE DEVELOPMENT PROJECT This project is being developed in cooperation qith Southwest UJ Educational Development Laboratory, .Austin, Texas. Anancial support for the project is received through Urban Education Funds; New York State Department of Education, End-Year_aport, June 30, 1969 Bernard E. Donovan, Superintendent of Schools Helene M. Lloyd, Assistant Superintendent Eugene Co Gibney, Project Director I. PROJECT BACKGROUND AND DESCRIPTION a. 101 The Language Development Project, initiated with approximately 800 kindergarten and first-grade pupils in 4 Hew York City schools in September, 1967; is designed to provide assistance to disadvantaged children who are learning English as a second language or who use non-standard speech patterns.The schools in the project last year were as follows: Manhattan - PS 96, PS 102, PS 180; Bronx - PS 50 This year the project was expanded to 5 schools in Brooklyn; namely, PS 19, PS 17, PS 396, PS 175, and PS 156. It was also extended to the second grade in the Manhattan and Bronx schools in the project last year. Appro7imately 2700 children and 90 teachers were involved in the project during 1968-69. 1,2Materials and special teaching techniques used in the project were originally developed at the Southwest Educational Development Laboratory for use with English as a second language learners in San Antonio; Texas, as a result of partial support by the United States Office of Education. 103SEDL materials in the areas of Self Concept. and Science have been purchased from the Laboratory and were used in the project in New York City, Designated classes in selected schools used these materials in both English and Spanish. 1' 1.4Children used the special language development material in self- concept and science on a daily basis for the time designated below. These time blocks were divided to meet children's attention spans. Kindergarten pupils, . o a , .40 minutes a day Grades 1 and 2, o o . 60 minutes a day In addition, the pupils receive assistance in language development during their other instructional time. 105An orientation program was held for teachers and supervisors outside regular school hours in order to acquaint them with the methodology of the program. Communications to teachers were sent Language Development Project, End-Year deport (Continued): - 2 throush the winciioal and his School Caordinator. Thu Coordinator was supplied with coi)ies of the workshop agondas and materials in order that both he and the principal wore infomod as to the progress of the project. The Demonstration Teachers and Spanish-Speaking Teachers also worked closely with the administrator of the school. Principals; coordinators and district superintendents were invited to all workshop sessions. Several of the principals in the project visited schools in the Texas project during 1967-68; three prin- cipals visited during January, 19690 1.6 Schoolsinproact Total - 9 schools- 90 classes (K - 2) Borough School Classes Grade Demonstration Spanish-Speaking Teacher Teacher Brooklyn (5 schools 156 4 1 Eleanor Mackolduff (2 days) 36 classes) 175 4 1 Eleanor Mackelduff (2 days) 396 7 1 Priscilla Perlman (5 days) 17 5 1 Eleanor Mackulduff (1 day) Filomena Fonte 19 16 1 Helen Spevack (5 days) Ada DiScipio Arthur Nieves Manhattan (3 schools 96 3 Kgn Ruth Calderon (3 days) 37 classes 1 0 9 102 3 KgnAida Mora (2 days) Isabel Velez 4 1 4 2 180 6 1 Ruth Calderon (2 days) 6 0 2 Bronx (1 school 5 9 Aida Mora (3 days) 17 classes) 1 * By mutual agreement; PS 51. was dropped from the Language DevelopmentProject on March 14, 1969. Mrs, Aida Mora gathered materials inuse in the school and they were transported to 110 Livingston Street. Hrs. Mora was reassigned full time to PS 102M. 2. OBJECTIVES 201To promote the language developmentof selected children from Puerto Rico learning Englishas a second language and of other children having non-standard English speech patterns. 2.2To train selected teachers and supervisorsin the principles of language development and in theuse of special materials as developed in the program of the Southwest Educational DevelopmentLaboratory. Language Development Project, EndYear Report (Continued): 2.3 To train teachers and supervisors in the project in the application of linguistic principles in order to promote the language development of children. 2.4 To provide guidelines for use by teachers and supervisors in New York City and New York State for meeting the language development needs of disadvantaged children. 2.5To involve parents, community people and college staff in selected aspects of the program. 206 To explore and study special psychological and sociological insights that may be helpful to teachers of disadvantaged children. 3. PROJECT STAFF 301Assistant Su erintendent Su ervisina Pro'ect 3.101Helene M. Lloyd, Assistant Superintendent 30 2 12E2122IJIL=LE 302.2Mr. Eugene C. Gibney 3.3Demonstration Teachers 30301 Mrs, Aida Mora (6 years teaching experience) 303.2Miss Ruth Calderon (4 years teaching experience in New York City, 11 years in Puerto Rico) 3.3.3Mrs. Helen Spevack (22years teaching experience) 3.3.4Mrs'. Eleanor Mackelduff (2 years teaching experience in San Antonio, Texas, using the approaches and materials developed by SEDL 4.4 3.3.5Mrs. Priscilla Perlman (5 years teaching experience) 304 §21/21212:222aUSGTeachera 3.4.1Mrs. Ada DiScipio (no experience in teaching); License common branches substitute Auxiliary 'eacher, major in Spanish, C.C.N.Y. 3.4.2Miss Isabel Velez Ni years teaching experience in Puerto Rico; 1 year exchange program in New Jersey; 1 year exchange program in New York: 1 year bilingual teacher in New York); License Bilingual Teacher; M.A. in Spanish, N.Y.U. 3.4.3Mr. Arthur Nieves graduated from Columbia University as a Spanish major. This is his first year of teaching. He has previously worked with Spanish children ina Citizenship Council Summer Project at Columbia: License Sub. common branches conditional. Language Development Project, End-Year Report (Continued): - 4 30 4 4 Miss Filomena - License: commonbranches; has studied Spanish literature at School of Arts and Sciences at N.Y.U. on graduate level; BA from Queens College; major Latin American studies: MA from N.Y.U. - field of Teaching Spanish on elementary school level (FLEE); this is her third year of teaching. 3.5 School Staff in Project 3.501 Manhattan PS 96 District Superintendent - Mr. Martin Trey Principal - Mr. Charles Miras (Acting) Teachers Kindergarten - Lee Klein Grade 1 - Gloria Weidberg Arleen Bishins Migdalia Romero Mabel Halpern Linn Malkin Yvonne Davis Grade 2 - Rosalie Scaglione Linda Poverman Aileen Eustace Carol Posner Madeline Pannell Carol Soslowitz PS 102 District Superintendent - Mr. Martin Frey Principal - Mrs. Bernice Peebles Coordinator - Mrs. Shirley Selikson, Early Childhood Coordinator Teachers Kindergarten - Louise Vertes Margaret Gerber Grade 1 - Geraldine Pellettieri Andrea Rosen Cheryl Subkoff Fanny Tomasulo Grade 2 Marelen Small Margaret Cicileo Josephine Sorgie Carol Steinberg Language Development Project, EndYear Report (Continued): . 5 - PS 180 District Superintendent Dr. Nathan Jacobson Principal Mr. Max tleinstein Coordinator Mrs. Gloria McKenney, Assistant Principal Teachers Grade 1 Shirley Samuels Joanne Marketos Joan Gottfried Miriam Golovensky Barbara Danon Nancy Daly Grade 2 Barbara Dyer Dorothea Beach Constance Torn Sylvia Simon Barbara Banks Linda Goldman 30 50 2 Brooklyn Ps 19 District Superintendent Mr. Ralph Brande Principal Mr. Harry Levine Coordinator % Lep,Goldberg, Assistant Principal Teachers Grade 1 Diane Lippe Rachel Rabinowitz Gloria Wirtz Carol Winkler Arlene Goldhammer Charlotte Lerer Catherine Cirrito Victoria Eskolsky Mary O'Neill Catherine Todd Rochelle Spanier Toby Schorr Alice Turak Deena Roth Marsha Samberg Geraldine Gaudiosi Language Development Project, End-Year Report (Continued): -6 PS 156 District Superintendent - Mr. Saul Siegal IC 0 Principal - Mr. Robert Gofter Coordinator - Mrs. Gladys Galamison
Load more

Recommended publications
  • PIER 34 Something Possible Everywhere Something Possible
    NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street.
    [Show full text]
  • AN EXAMINATION of ART FORGERY and the LEGAL TOOLS PROTECTING ART COLLECTORS Leila A
    ARE YOU FAUX REAL? AN EXAMINATION OF ART FORGERY AND THE LEGAL TOOLS PROTECTING ART COLLECTORS Leila A. Amineddoleh | Cardozo Arts and Entertainment Law Journal Document Details All Citations: 34 Cardozo Arts & Ent. L.J. 59 Search Details Jurisdiction: National Delivery Details Date: July 19, 2016 at 9:02 PM Delivered By: kiip kiip Client ID: KIIPLIB02 Status Icons: © 2016 Thomson Reuters. No claim to original U.S. Government Works. ARE YOU FAUX REAL? AN EXAMINATION OF ART..., 34 Cardozo Arts &... 34 Cardozo Arts & Ent. L.J. 59 Cardozo Arts and Entertainment Law Journal 2016 Article ARE YOU FAUX REAL? AN EXAMINATION OF ART FORGERY AND THE LEGAL TOOLS PROTECTING ART COLLECTORS r1 Leila A. Amineddoleh a1 Copyright (c) 2016 Yeshiva University; Leila A. Amineddoleh INTRODUCTION 61 I. BACKGROUND 62 A. Rise in Authorship 62 B. The Existence of Forgeries 64 C. A Robust Art Market Leads to Increasing Prices and the Prevalence of Forgeries 66 1. The Current Market is Full of Forgeries 66 2. There is a Circular Relationship: The Art Market Thrives, Prices Increase, and 69 Connoisseurship Gains Greater Importance II. HOW THE LAW GRAPPLES WITH AUTHENTICITY 70 A. The First High Profile Authentication Battle in US Courts: Hahn v. Duveen 70 III. WHAT DOES IT MEAN TO BE “AUTHENTIC”? 72 A. Authenticity as a Three-Legged Stool 72 B. The Vulnerability of Modern Masters Leads to the Shuttering of One of the Most 74 Prestigious American Galleries C. Sometimes There is No Definitive Answer Regarding Authorship 79 D. Authenticity Disputes Have Altered the Landscape for Art Experts 80 E.
    [Show full text]
  • Jackson Pollock
    It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement. SYNOPSIS In its edition of August 8th, 1949, Life magazine ran a feature article about Jackson Pollock that bore this question in the headline: "Is he the greatest living painter in the United States?" Could a painter who flung paint at canvases with a stick, who poured and hurled it to create roiling vortexes of color and line, possibly be considered "great"? New York's critics certainly thought so, and Pollock's pre-eminence among the Abstract Expressionists has endured, cemented by the legend of his alcoholism and his early death. The famous 'drip paintings' that he began to produce in the late 1940s represent one of the most original bodies of work of the century. At times they could suggest the life- force in nature itself, at others they could evoke man's entrapment - in the body, in the anxious mind, and in the newly frightening modern © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org world. KEY IDEAS Pollock's tough and unsettled early life growing up in the American West shaped him into the bullish character he would become. Later, a series of influences came together to guide Pollock to his mature style: years spent painting realist murals in the 1930s showed him the power of painting on a large scale; Surrealism suggested ways to describe the unconscious; and Cubism guided his understanding of picture space.
    [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]
  • Torturing the Artist: Celebrity and Trope in Media Representations of the Abstract Expressionists
    1 Torturing the Artist: Celebrity and Trope in Media Representations of the Abstract Expressionists A Senior Honors Thesis in the Department of Art and Art History By Phoebe Cavise Under the advisement of Professor Eric Rosenberg Professor Malcolm Turvey 2 Table of Contents Acknowledgements ……………………………………………………………………... 3 Introduction About the Paper ……………………………………………………………… 5 Definitions …………………………………………………………………… 8 Celebrity, Suicide, and Celebrity Suicides ………………………………….. 11 About the Process …………………………………………………………… 19 Chapter I. Pollock: Life, Death, and Everything In Between …………………………... 23 Chapter II. Pollock Background …………………………………………………………………. 44 Biopic: Portrait of a Genre ………………………………………………….. 49 Media within Media ………………………………………………………… 53 The Tools of Torture ………………………………………………………... 74 Chapter III. Rothko: Life, Death, and Everything After ……………………………….. 81 Chapter IV. Red Background …………………………………………………………………. 88 Reality and Red ……………………………………………………………... 91 Misery’s Company ………………………………………………………… 103 Productions and Press ……………………………………………………… 108 Chapter V. Directing Red ……………………………………………………………... 119 Conclusions………………………………………………………………………...….. 130 Bibliography ………………………………………………………………………….. 134 3 Acknowledgments First and foremost, thank you to Professor Eric Rosenberg for his complete faith in me. When I proposed a questionably-relevant thesis topic he accepted it wholeheartedly and has done nothing but encourage me every step of the way, even when many of those steps came later than planned. His enthusiasm was paramount to this paper’s completion. Thank you to Professor Ikumi Kaminishi who has advised the latter half of my college career. I am lucky to have worked with someone so supportive and brilliant, whose challenging Theories and Methods class forced me to become a better art historian. Thank you to Professor Malcolm Turvey for joining this project on a topic only half- related to the field in which he is so respected. I only wish my thesis could have been more relevant to his knowledge and utilized his expertise more.
    [Show full text]
  • Living Colour
    LEE KRASNER LIVING COLOUR EDITED BY ELEANOR NAIRNE FOREWORD 6 TO BREATHE AND BE ALIVE Eleanor Nairne 10 NOTHING OUTSIDE NATURE Katy Siegel 22 WRITING RIMBAUD ON THE WALL John Yau 32 PRESENT CONDITIONAL Suzanne Hudson 42 BECOMING LEE 51 LIFE DRAWING 57 WAR SERVICE WINDOWS 69 LITTLE IMAGES 83 STABLE GALLERY 97 PROPHECY 111 NIGHT JOURNEYS 119 PRIMARY SERIES 129 PALINGENESIS 157 ELEVEN WAYS 163 REFLECTIONS Gail Levin 170 CHRONOLOGY Jessica Freeman-Attwood 186 NOTES 222 BIBLIOGRAPHY Saskia Flower 228 LIST OF WORKS 232 CONTRIBUTORS 234 IMAGE CREDITS 235 INDEX 236 the morning prayer was recited in Hebrew. She later recalled, ‘I didn’t know what I was saying; I just had to say it or God would strike me dead.’11 Originally named Lena Krassner, in 1922 she adopted the more American TO BREATHE ‘Lenore’, which later became the more androgynous ‘Lee’. It was not uncommon for émigrés to ‘translate’ their names – her brother, Isak, became ‘Irving’, while her sister Ides became ‘Edith’.12 Even such natives as Pollock rebranded themselves in New York: when AND BE ALIVE he moved to the city in 1930, he dropped his first name, Paul (presumably because, as John Berger later quipped, ‘Jackson Pollock was a name for fighting in the ring. A champ’s name’).13 Krasner became Lenore at the same time as she was renouncing religion and chose to attend Washington Irving High – the only school in New York to offer an art course for girls. Graduating at the age of seventeen, she went on to study at the Woman’s Art School at Cooper Union and, after a brief spell at the Art Students League, the National Academy of Design.
    [Show full text]
  • Intimacy and Autonomy: Twentieth Century American Women and the Quest for Self-Realization" (2015)
    Purdue University Purdue e-Pubs Open Access Dissertations Theses and Dissertations January 2015 INTIMACY AND AUTONOMY: TWENTIETH CENTURY AMERICAN WOMEN AND THE QUEST FOR SELF- REALIZATION Mary Florence Barford Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_dissertations Recommended Citation Barford, Mary Florence, "INTIMACY AND AUTONOMY: TWENTIETH CENTURY AMERICAN WOMEN AND THE QUEST FOR SELF-REALIZATION" (2015). Open Access Dissertations. 1088. https://docs.lib.purdue.edu/open_access_dissertations/1088 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. INTIMACY AND AUTONOMY: TWENTIETH CENTURY AMERICAN WOMEN AND THE QUEST FOR SELF-REALIZATION A Dissertation Submitted to the Faculty of Purdue University by Mary F. V. Barford In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December, 2015 Purdue University West Lafayette, Indiana ii For my parents ii iii ACKNOWLEDGEMENTS It is a rare joy to be able in some formal capacity to thank the people in your life that deserve your thanks. I finished this project as a 38 year-old single mother of two. My route toward completion was circuitous and along that twisty path I acquired many a debt of gratitude that I am happy to pay back if just slightly in these few pages. First, I want to thank my phenomenal advisor, Dr. Susan Curtis. Dr. Curtis has been a mentor to me, not only as a scholar and a teacher, but ultimately as a human being. She carries all the accouterments of a great historian – curiosity, intelligence, perseverance, and an undeniable work ethic.
    [Show full text]
  • Oral History Interview with Rosalyn Drexler, 2017 May 17-June 2
    Oral history interview with Rosalyn Drexler, 2017 May 17-June 2 Funding for this interview was provided by the Pollock-Krasner 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 Rosalyn Drexler on May 17 and June 2, 2017. The interview took place at Garth Greenan Gallery in New York, NY, and was conducted by Christopher Lyon for the Archives of American Art, Smithsonian Institution. Rosalyn Drexler and Christopher Lyon have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview CHRISTOPHER LYON: This is Christopher Lyon interviewing Rosalyn Drexler on May 17, 2017 at Garth Greenan Gallery at 545 West 20th Street. So, um, yeah. So I wanted to just say that, you know, because as it is the Archives of American Art, the focus of the interview is the artwork. ROSALYN DREXLER: Yeah. CHRISTOPHER LYON: But it seems like your career has been so interwoven with, you know, art, and writing, and performance, and all your different activities, and I didn't—I don't want to neglect anything that you might want to talk about. ROSALYN DREXLER: It's the same mind. The humor and the intensity, once I get into a project. Just the actual enjoyment of doing the thing, see.
    [Show full text]
  • CSI Tests Authenticate Pollock's Final Work
    AUTHENTICATION IN ART Art News Service CSI tests authenticate Pollock’s final work By Jennifer Gould Keil November 8, 2013 The painting is abstract — but its origin is now crystal clear. One of the art world’s greatest mysteries has finally been solved — as CSI tests have proven a painting owned by Jackson Pollock’s late mistress is truly the master’s final work. Pollock paramour Ruth Kligman insisted until her death in 2010 that the pioneering New York painter gave her “Red, Black & Silver” as a love letter shortly before he died in a drunken car crash in 1956. But since the artist’s wife, Lee Krasner — who hated the younger Kligman — ran the group that authenticated his works, the final painting was SOLVED: Fur from a bear rug at Jackson Pollock's Hamptons home was found in "Red Black & Silver" (left), owned by his never declared a true Pollock. mistress, Ruth Kligman (right with the artist). Until now. In an announcement likely to change art history, Kligman’s estate will reveal at a conference Friday the findings of a former NYPD detective that it says authenticates the work — including a hair from a polar- bear rug owned by the artist. Forensics expert Nicholas Petraco, who was hired by the estate, found traces of rug fur stuck in the artwork’s paint. Other telltale clues found in the paint were Pollock’s own hair and sand unique to the area around his East Hampton home. It marks the first time crime-scene-style trace analysis has been used on fragments found in a painting, rather than just on the paint itself.
    [Show full text]
  • Oral History Interview with Leo Castelli, 1997 May 22
    Oral history interview with Leo Castelli, 1997 May 22 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Leo Castelli, joined by his daughter, Nina Sundell, on May 22 and September 2, 1997. The interview took place in New York, N.Y., and was conducted by Andrew Decker for the Archives of American Art, Smithsonian Institution. In 2016, staff at the Archives of American Art reviewed this transcript to make corrections. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANDREW DECKER: So, today's date is May 22, 1997. I am Andrew Decker and I am in the gallery of Leo Castelli, who has graciously agreed to be interviewed for the Archives of American Art. Some years ago you provided a great deal of information to the Archives about your work in the fifties and sixties, and I'm hoping to talk to you also about the 1970s, 1980s, and 1990s. LEO CASTELLI: Yes. MR. DECKER: The last interviews ended with your great interest in Minimal art— MR. CASTELLI: Mm-hmm. [Affirmative.] MR. DECKER: And Conceptual art, which you continued with for a number of years. MR. CASTELLI: Yes. MR. DECKER: Were there developments in that area that you found enjoyable or surprising? MR.
    [Show full text]
  • ORIGINAL RESEARCH PAPER Anjali Bhas
    PARIPEX - INDIAN JOURNAL OF RESEARCH | Volume - 10 | Issue - 04 |April - 2021 | PRINT ISSN No. 2250 - 1991 | DOI : 10.36106/paripex ORIGINAL RESEARCH PAPER Arts JACKSON POLLOCK AND ABSTRACT KEY WORDS: EXPRESSIONISM Anjali Bhas Twentieth century witnessed a deliberate and radical break Agnes Martin. In America, the movement was not only with some of the traditional bases of Western art. Just as associated with painting and painters like Arshile Gorky, Literature achieved its effects by violating the norms of Franz Kline, Clyfford Still, Hans Hofmann, William de Kooning, Standard English syntax and sentence structure, painting Jackson Pollock and many others but also with collagists and relied on novelty and a fractured form informed undeniably sculptors. Abstract Expressionism produced some of the most by the modern fragmented society which played its part in the memorable artwork of the 20th Century. As an art movement it new venture of modernism wherein expressing oneself has left a legacy of some truly creative and original paintings. became the most difficult mission. Innovation became the It used art as an expression of emotion, focusing on color and core value of modern art as Harold Rosenberg remarks “the form. only thing that counts for Modern Art is that a work shall be NEW” (49). The artists strived enormously to rise above the The Abstract Expressionists had a distinct style and a novel contemporaries which resulted in what can be termed as language of painting. The movement was influenced by “breakthrough” that each one had to undertake in the venture Surrealism and Existentialism which desired to use the of modernizing the art of painting.
    [Show full text]
  • Beware Art Inspectors with First-Class Flights
    AiA Art News-service Beware art inspectors with first-class flights David Sanderson, Jack Malvern August 22 2018, 12:01am, The Times Salvator Mundi, which Martin Kemp helped to authenticate as a Leonardo. He said that art historians’ opinions were being bought by first-class flights CHRISTIE’S/REUTERS; SIMONE PADOVANI/GETTY IMAGES Watch out for art historians turning left on flights, an expert has said, because if they are travelling first class then they may have accepted lavish hospitality from rich clients seeking their endorsement for a contentious work of art. Martin Kemp, a leading authority on Leonardo da Vinci who played a pivotal role in authenticating Salvator Mundi and an emeritus professor at Oxford University, said that such inducements were a corrupting influence. His expertise helped the controversial painting of Jesus Christ to fetch $450 million last year, setting a world record for any work of art at auction. Professor Kemp said that he had previously been flown first class and put up in swanky hotels by art owners wanting his seal of approval for their works, but regretted it. “I can, along with other people, obviously add millions and millions to the value of these pictures,” he said. In his new book, Living with Leonardo, Professor Kemp said that he now refused to take money for inspecting works, adding that he had an “unpleasant experience some years ago”. “I don’t even take expenses,” he told the Edinburgh International Book Festival. “I took expenses as a young art historian, was put up in a very swanky hotel, given first-class travel across the Atlantic, and it is corrupting.
    [Show full text]