"Diego and Frida: a Smile in the Middle of the Way" IPHF Exhibition May 13Th – August 4Th, 2017
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Oral History Interview with Herbert Palmer, 2004 Dec. 6-22
Oral history interview with Herbert Palmer, 2004 Dec. 6-22 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 tape-recorded interview with Herbert Palmer on December 6 and 22, 2004. The interview took place at the Hebert Palmer Gallery in Los Angeles, California, and was conducted by Dr. Susan Ehrlich for the Archives of American Art, Smithsonian Institution. Dr. Susan Ehrlich and Mrs. Lillian Palmer have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview SUSAN EHRLICH: This is Susan Ehrlich interviewing Herbert Palmer at the Herbert Palmer Gallery [Est. 1963] in Los Angeles for the Archives of American Art, Smithsonian Institution. This is December 6, 2004, and this is tape one, side one. Herbert, let's go back to your background. Tell us where you were born, when you were born, and something about your family life, your early family life - you were born in New York in 1915. HERBERT PALMER: Brooklyn, New York, June 23, 1915. DR. EHRLICH: And your father - what did he do? MR. PALMER: My father was a - part of a company that did - sale of general merchandise. He started this company in New York. It was one of the first companies to sell merchandise on a time plan, before department stores did it. -
Ernest Bloch
“He was the musician as Old Testament prophet, whose speech was thunder and whose glance lightning, whose very presence proclaimed the divine fire by which, on occasion, a bystander might feel himself scorched.” ” Yehudi Menuhin, “Unfinished Journey” Ernest Bloch Composer in Photo by Walt Dyke Walt Photo by Nature’s University Photo by Lucienne Bloch, courtesy Old Stage Studios Editors Dr. Frank Jo Maitland Geltner, Dr. Alexander Knapp and members of Bloch family. Original 2005 version by Nancy Steinberg Ernest Bloch Legacy Project Economic Development Alliance of Lincoln County www.ernestbloch.org (July 2018) [email protected] Chronological List of Ernest Bloch’s Compositions 1923 Enfantines: Ten Pieces for Children, piano (Fischer) Compiled by Alexander Knapp from his “Alphabetical List of Bloch’s Published Five Sketches in Sepia: Prélude – Fumées sur la ville – Lucioles – Incertitude – and Unpublished Works” in Ernest Bloch Studies, co-edited by Alexander Knapp Epilogue, piano (Schirmer) Mélodie: violin and piano (Fischer) and Norman Solomon, Cambridge University Press, 2016. Night, string quartet (Fischer) The years shown indicate date of completion, not date of publication. Nirvana: Poem for Piano (Schirmer) Within each year, works are listed in alphabetical order. Paysages (Landscapes) – Three Pieces for String Quartet: North – Alpestre - *Unpublished work – manuscript extant. Tongataboo (Fischer) **Unpublished - manuscript lost. Piano Quintet No. 1 (Schirmer) 1924 From Jewish Life: Three Sketches for Violoncello and Piano (also -
The Forgotten Man: the Rhetorical Construction of Class and Classlessness in Depression Era Media
The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media A dissertation presented to the faculty of the College of Arts of and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Lee A. Gray November 2003 @ 2003 Lee A. Gray All Rights Reserved This dissertation entitled The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media By Lee A. Gray has been approved for the Individual Interdisciplinary Program and The College of Arts and Sciences by Katherine Jellison Associate Professor, History Raymie E. McKerrow Professor, Communication Studies Leslie A. Flemming Dean, College of Arts and Sciences Gray, Lee A. Ph.D. November 2003. History/Individual Interdisciplinary Program The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media (206 pp.) Co-Directors of Dissertation: Katherine Jellison and Raymie McKerrow The following study is an analysis of visual and narrative cultural discourses during the interwar years of 1920-1941. These years, specifically those of the 1930s, represent a significant transitional point in American history regarding cultural identity and social class formation. This study seeks to present one profile of how the use of media contributed to a mythic cultural identity of the United States as both classless and middle-class simultaneously. The analysis is interdisciplinary by design and purports to highlight interaction between visual and oral rhetorical strategies used to construct and support the complex myths of class as they formed during this period in American history. I begin my argument with Franklin D. -
Selections from the Archives of American Art Oral History Collection
1958 –2008 Archives of American Art, Smithsonian Institution | Winterhouse Editions, 2008 Published with the support of the Dedalus Foundation, Inc. 6 Introduction 8 Abraham Walkowitz 14 Charles Burchfield 20 Isamu Noguchi 24 Stuart Davis 32 Burgoyne Diller 38 Dorothea Lange 44 A. Hyatt Mayor 50 Edith Gregor Halpert 56 Jacob Lawrence 62 Emmy Lou Packard 70 Lee Krasner 76 Robert Motherwell 82 Leo Castelli 88 Robert Rauschenberg 92 Al Held 96 Katharine Kuh 102 Tom Wesselmann 106 Agnes Martin 112 Sheila Hicks 120 Jay DeFeo 126 Robert C. Scull 134 Chuck Close 142 Ken Shores 146 Maya Lin 152 Guerrilla Girls Perhaps no experience is as profoundly visceral for the historian than the Mark Rothko Foundation, and the Pasadena Art Alliance. Today to read and listen to individuals recount the stories of their lives and this project remains remarkably vigorous, thanks to support from the careers in an interview. Although the written document can provide Terra Foundation for American Art, the Brown Foundation of Houston, extraordinary insight, the intimacy of the one-on-one interview offers the Widgeon Point Charitable Foundation, the Art Dealers Association of a candor and immediacy rarely encountered on the page. America, and in particular Nanette L. Laitman, who has recently funded nearly 150 interviews with American craft artists. Intro- I am deeply grateful to the many people who have worked so hard to make this publication a success. At the Archives, I wish to thank ductionIn 1958, with great prescience, the Archives of American Art our oral history program assistant Emily Hauck, interns Jessica Davis initiated an oral history program that quickly became a cornerstone of and Lindsey Kempton, and in particular our Curator of Manuscripts, our mission. -
VOM-2016-0101.Pdf
TM ISSN 0186 • 9418 Voices of Mexico is published by the Centro de Investigaciones sobre América del Norte, CISAN (Center for Research on North America) of the Coordinación de Humanidades (Office of the Coordinator of Human ities), Uni versidad Nacional Autónoma de México, UNAM (National Autonomous University of Mexico). Director Silvia Núñez García Editor-in-Chief Art Director Circulation and Sales Diego Bugeda Bernal Patricia Pérez Ramírez Norma Aída Manzanera Silva Editors Layout Subscriptions María Cristina Hernández Escobar María Elena Álvarez Sotelo Cynthia Creamer Tejeda Teresa Jiménez Andreu Assistant to the Editor-in-Chief Business Manager Copyeditor & Translator Minerva Cruz Salas María Soledad Reyes Lucero Heather Dashner Monk Special Section Guest Editor Oliver Santín Peña Rector, UNAM Enrique Graue Wiechers Coordinator of Humanities Domingo Alberto Vital Díaz Director of the Center for Research on North America (CISAN) Silvia Núñez García EDITORIAL BOARD Sergio Aguayo, Carlos Alba Vega, Norma Blázquez, Fernando Rafael Castañeda Sabido, Roberto Castañón Romo María Leoba Castañeda, Lourdes N. Chehaibar Náder, Gua dalupe González, Rosario Green, Roberto Gutiérrez López, Elizabeth Gutiérrez Romero, Carlos Heredia, Julio La bastida, Miguel León-Portilla, David Maciel, Paz Consuelo Márquez Padilla, Alicia Mayer, Humberto Muñoz García, Olga Pellicer, Elena Poniatowska, Vicente Quirarte, Federico Re yes Heroles, Andrés Rozental, José Sarukhán, Mari Carmen Serra Puche, Alina María Signoret, Fernando Solana, Rodolfo Stavenhagen, María Teresa Uriarte, Diego Valadés, José Luis Valdés-Ugalde, Mónica Ve rea, Verónica Villarespe Reyes Address letters, advertising and subscription correspondence to: Voices of Mexico, Torre II de Humanidades, piso 9, Ciudad Universitaria, Coyoacán, 04510, México, D. F. Tel: 5623 0308. Electronic mail: [email protected]. -
Diego Rivera's Man at the Crossroads
ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD Diego Rivera’s Man at the Crossroads We acted very busy, aware detectives were all over the place...Ilifted my Leica [camera] to my eyes, centering on the Lenin head. I was satisfied that at least a photo would be good....[Di- ego] calls out...“Stop work! I’ve been ordered to stop because of Lenin.” I began to cry. Lucienne Bloch, 19861 Propaganda has no place in art. Art should rise above politics and the realities of one little epoch. Art is an escape from reality. I do not agree with Mr Rivera that every art must have a political viewpoint. Henri Matisse, New York Herald Tribune, May 24, 19342(p257) N WEDNESDAY,MAY 10, graph) using her handheld Leica (cover, When he was informed about the 1933, Diego Rivera made thumbnail). Lenin portrait, Nelson Rockefeller sent front-page news in the Lucienne Bloch’s photographs are the a diplomatic letter to Rivera: NewYorkTimes:“ROCKE- only record of the Rivera RCA building Viewing the progress of your thrilling mu- OFELLERS BAN LENIN IN RCA MURAL mural. Her close-up photograph ap- ral, I noticed that in the most recent portion AND DISMISS RIVERA.” The night be- peared in the New York papers show- of the painting you had included a portrait fore, Rivera (1886-1957) was ordered to ing Lenin, the leader of the proletariat, of Lenin. This piece is beautifully painted, but stop painting his commissioned mural, symbolically clasping the hands of a triad it seems to me that his portrait appearing in Man at the Crossroads (epigraph), in the representing the soldier, the worker, and this mural might very easily offend a great main entrance lobby of the Radio Cor- the farmer (depicted as African Ameri- manypeople....AsmuchasIdislike to do poration of America (RCA) building in can). -
Jewish Community Library a Program of Jewish Learningworks NONPROFIT ORG
Jewish Community Library A program of Jewish LearningWorks NONPROFIT ORG. U.S. POSTAGE PAID SAN FRANCISCO, CA PERMIT NO. 925 FALL • WINTER 2013 /14 Ernest Bloch & Lucienne Bloch Jewish Community Library of Jewish LearningWorks A program On the campus of the Jewish Community High School of the Bay 1835 Ellis Street Street Ellis 1835 CA Francisco, San 94115 Photography Exhibition One Bay One Book A Guide for the Perplexed by Dara Horn Authors & Their Books Crossing Cairo · Embodying Hebrew Culture The Black Russian · Torah of Reconciliation Free Spirit · Radical Yiddish · Jewish Radicals Music Josh Horowitz & Veretski Pass SOTA Musicians Play Bloch Films Hava Nagila (The Movie) · Fill the Void Family Programs in English & Hebrew and more... The Jewish Community Library A PROGRAM OF JEWISH LEARNINGWORKS Contents FALL·WINTER 2 013/ 14 MAIN LOCATION Geary All events are free and held in the Ernest Bloch & Book Club in a Box ................. 14 Lucienne Bloch ............................. Main Location unless noted. O’Farrell 4 · Exhibition: A Shared Eye Drop-in Book Club ....................15 1835 Ellis Street, San Francisco PEDESTRIAN ENTRANCE · The Brothers Ashkenazi Ellis Scott Pierce · Presentation by Lucienne Allen between Scott and Pierce, on the campus of Steiner Fillmore by Israel Joshua Singer PARKING Divisadero JCL · SOTA Musicians Play Bloch the Jewish Community High School of the Bay Eddy ENTRANCE · The Man in the PHONE: 415.567.3327 White Sharkskin Suit Film Class ........................................ 7 by Lucette Lagnado WEB: www.jewishcommunitylibrary.org · Fill the Void · A Guide for the Perplexed Golden Gate HOURS · Hava Nagila (The Movie) by Dara Horn Sunday 12 pm – 4 pm Dance & Music............................. -
Gallery Guide in English
Luis Arenal (Mexican, 1908-1985). Cabeza de indígena (Head of an Indigenous Woman), 1947. Lithograph. Portland Art Museum, Museum Purchase: Marion McGill Lawrence Fund NUESTRA OUR MEXICO AND THE IMAGEN PRESENT GRAPHIC ARTS ACTUAL IMAGE 1929-1956 October 3, 2020 to February 14, 2021 The exhibition is co-organized by the Jordan Schnitzer Museum of Art and the Portland Art Museum. Support provided by Art Bridges, and by members and donors to the JSMA. 1 NUESTRA OUR MEXICO AND THE IMAGEN PRESENT GRAPHIC ARTS ACTUAL IMAGE 1929-1956 October 3, 2020 to February 14, 2021 A remarkable artistic outpouring ensued after the Mexican Revolution (1910-1920). Printmaking flourished as artists continued to demand land, labor, and education reforms, and the rights of indigenous peoples. Because they are multiples, prints could be widely distributed to raise awareness about social justice issues and advocate for change. Artists made posters and leaflets for the masses in Mexico, as well as prints to satisfy a growing audience for images of Mexican history and culture in the United States. This exhibition aims to deepen and broaden the understanding and appreciation of the graphic art of post-revolutionary Mexico, a landmark in the history of twentieth-century printmaking and modern art. Nuestra imagen actual | Our Present Image: Mexico and the Graphic Arts 1929-1956, co-organized by the Jordan Schnitzer Museum of Art (JSMA) and the Portland Art Museum (PAM), presents sixty-two prints by twenty-two artists including the leading Mexican muralists José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros, and members of Mexico’s world famous Popular Graphic Art Workshop (est. -
Art in America
Art in America On Location with Diego Rivera By Lucienne Bloch February, 1986 I first met Diego Rivera at a large banquet given in his honor in New York on November 16, 1931. He had just arrived from Mexico to prepare his one-man show at the Museum of Modern Art. A friend of mine from San Francisco, Mrs. Sigmund Stern, had told me about him with enthusiasm. He had painted a true Fresco in her dining room. I had seen this kind of mural of the 14th and 15th centuries in Florence and wanted to know more about it, but I hadn’t known of any living artist who still painted in that ancient technique. At the banquet I was placed next to Rivera not only because I was an artist, but because we both spoke French fluently – his English was worse than halting. Later, my sister Suzanne scolded me for monopolizing him throughout the entire meal. It was true! We talked continuously. My romantic notions of art and life – at age 22 – were knocked out of joint by this burly giant of a man, and I marveled at his preposterous opinions. When I mentioned that Frank Lloyd Wright had invited me to teach sculpture at Taliesin, Diego maintained that the great architect was an “old-fashioned sentimentalist with suburban ideas” that would only isolate men from each other. The city, he said, was man’s place because he was gregarious and needed to congregate. “What about those dreadful machines man creates for ‘progress’ but that destroy beauty and nature?” I countered. -
Lucienne Bloch a Retrospective Mendocino Art Center
EXHIBITION REVIEW “Lucienne Bloch: A Retrospective” Mendocino Art Center Mendocino California August 3-31, 1998 ©Susan Platt first published Art Papers Magazine, January February 1999 ©Lucienne Bloch, photograph of Demonstration in New York City, 1934 At a time when she had been living with Diego Rivera and Frida Kahlo for about six months, Lucienne Bloch wrote in her diary in August 1932: http://www.luciennebloch.com/index.html "We took cold chicken in a little basket and went to Belle Isle dragging Diego with us at the last instant. It did him good to go out. He was so surprised at the beauty of the trees when lying down in the grass. He says trees are ugly and nature is hokum, but he can't help admiring it when he's in it." Her informal photograph paired with this amusing remark, one of the many surprises of her recent retrospective, shows Rivera lying exhausted on the ground with Frida Kahlo seated nearby. Taken in Belle Isle, Michigan, shortly after Kahlo's painful miscarriage, the photograph documents a rare moment of relaxation for this very public couple. It includes Bloch, by implication, in the intimate family circle. During the next months, Rivera would complete work on his huge cycle of murals called Detroit Industry, then go on to the disastrous Rockefeller Center project, where his Man at the Crossroads would be censured because it had a portrait of Lenin. Bloch assisted Rivera on both murals, accompanied Frida on a trip to Mexico, and took the only surviving photographs of the Rockefeller Center mural after the work was halted. -
Agents of Change: Mexican Muralists and New Deal Artists
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2010 AGENTS OF CHANGE: MEXICAN MURALISTS AND NEW DEAL ARTISTS Judy Zlotsky Sheldon Museum of Arts Norman Zlotsky Sheldon Museum of Arts Blana Salazar Sheldon Museum of Arts Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Zlotsky, Judy; Zlotsky, Norman; and Salazar, Blana, "AGENTS OF CHANGE: MEXICAN MURALISTS AND NEW DEAL ARTISTS" (2010). Sheldon Museum of Art Catalogues and Publications. 6. https://digitalcommons.unl.edu/sheldonpubs/6 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. AGENTS OF CHANGE MEXICAN MURALISTS AND NEW DEAL ARTISTS 7" s u I • 1 Agents of Change: Mexican Muralists and New Deal Artists Agentes del Cambia: Muralistas Mexicanas y los Artistas del New features works by artists from Mexico and the United States and Deal presenta obras hechas por algunos artistas de Mexico y de demonstrates the close ties between them in the 1930s and' 40s. los Estados Unidos y demuestra las afinidades entre ellos durante The exhibition is organized into four sections to include Franklin los anos 1930 y los 40. La exhibicion esta organizada en cuatro Delano Roosevelt's Works Progress Administration (WPA); secciones que incluye la Administracion del Trabajo Progresista the Mexican Muralist Movement; a mural study by WPA artist (WPA, por sus siglas en ingles) de Franklin Delano Roosevelt; el Lucienne Bloch; and the Taller de Grafica Popular. -
Oral History Interview with Enrique Chagoya, 2001 July 25-August 6
Oral history interview with Enrique Chagoya, 2001 July 25-August 6 The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. 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 Enrique Chagoya on July 25, July 26 and August 5, 2001. The interview was conducted in San Francisco, California by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Kara Maria is also present. Funding for the interview is from the Smithsonian Institution Latino Initiative. Interview EC: Enrique Chagoya KM: Kara Maria PK: Paul Karlstrom SESSION 1, TAPE 1, SIDE A, 25 JULY 2001 PK: So, starting this interview, Archives of American Art, Smithsonian Institution, it’ll be a two session interview with San Francisco artist, Bay Area artist, Enrique Chagoya. The interview is part of the Smithsonian Latino Initiative Documentation Project. The date is July 25, 2001. Interview is being conducted for the Archives by Paul Karlstrom. This is tape one, side A. Enrique, here we are, the introduction is out of the way. I just want to say that I’m looking forward to this, because I’ve admired your work. Just to give some context to this — it seems to me, over recent years you’ve been getting more and more prominence, with many exhibitions. And you are currently on the faculty at Stanford University. I don’t know, how long has that been? EC: I’ve been there five years, I believe.