Wood, Beatrice (1893–1998)

2018 ◽  
Author(s):  
Thelma Rohrer
Keyword(s):  
New York ◽  
New York City ◽  
San Francisco ◽  
York City ◽  
Smithsonian Institution ◽  
Native State ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
American Artist ◽  
New York Dada

An American potter known for luster-glaze chalices and whimsical ceramic figures, Beatrice Wood was once named the "Mama of Dada." Born on 3 March 1893 into a wealthy family in San Francisco, California, raised in New York City, and a student at the Académie Julian in Paris, Wood rebelled from her traditional upbringing by 1912. Seeking a more bohemian life, she joined avant-garde art circles, became friends with Marcel Duchamp and Henri-Pierre Roché, and was influential in the New York Dada movement. During the 1930s, her early successes in ceramics provided independent income and, by 1948, she settled in Ojai, California, to continue her interest in theosophy. She established a studio developing embedded luster glazes with radiant colors and continued this work for over thirty years. Wood was recognized as a "California Living Treasure" by her native state, named an "Esteemed American Artist" by the Smithsonian Institution, and partly inspired the character "Rose" in the 1997 film Titanic. She died on 12 March 1998 at the age of 105.

Gorky, Arshile (ca. 1902–1948)

2018 ◽  
Author(s):  
Jonathan Wallis
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
York City ◽  
Abstract Expressionism ◽  
The United States ◽  
Avant Garde ◽  
American Artist ◽  
Armenian American

Arshile Gorky was an Armenian American artist whose work and knowledge of European avant-garde art contributed to the development of Abstract Expressionism. Born Vosdanig Adoian in Khorkom, Armenia, Gorky immigrated to the United States in 1920, changed his name and established himself as a self-taught painter in New York City.

Afterword

2020 ◽  
pp. 398-402
Author(s):  
Jed Rasula
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Video Installation ◽  
Fernando Pessoa ◽  
Avant Garde ◽  
Good Fortune ◽  
Park Avenue ◽  
Olympic Village ◽  
As If

On 17 December 2016, I had the good fortune to see a video installation at the Park Avenue Armory in New York City. Written, directed, and produced by Julian Rosefeldt, largely in and around Berlin, Manifesto staged thirteen scenarios—simultaneously looped on massive screens in the cavernous armory—in which extracts from nearly seventy avant-garde manifestos were performed by Cate Blanchett, featured in thirteen strikingly different roles. Her virtuosity redeployed even the most emphatic manifesto rhetoric into monologues that seem spontaneously uttered in a series of vivid locales, ranging from a cemetery to a fertilizer factory, a film studio, a drab apartment block, a former Olympic village, a puppet workshop, a recycling facility, and more. Blanchett, in effect, perpetuates the spirit of Fernando Pessoa, as if she were embodying heteronyms, not playing roles. ...

Arensberg, Walter (1878–1954)

2018 ◽  
Author(s):  
Sarah Archino
Keyword(s):  
New York ◽  
Focal Point ◽  
Modern Art ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Early American ◽  
Large Glass ◽  
New York Dada ◽  
Constantin Brancusi

Walter Arensberg (April 4, 1878 to January 29, 1954) and his wife, Louise Stevens Arensberg (1879–1953), were influential patrons of the avant-garde, building a collection that included modernist art, early American Shaker furniture, and non-Western objects, primarily of African and pre-Columbian origin. They collected modern art by American and European artists, with a special concentration in work by Marcel Duchamp (who also served as their art advisor) and Constantin Brancusi. Their New York apartment, at 33 West 67th Street, hosted a frequent salon of artists, writers, and intellectuals from 1915–1921. These gatherings were a focal point for the activities and antics of New York Dada. Among Arensberg’s many friendships with artists and writers, his long association with Marcel Duchamp was perhaps most influential. When Duchamp arrived in New York in 1915, Walter Pach met him at the pier and brought him directly to the Arensberg’s apartment, where Duchamp lived during the summer of 1915. Later, Arensberg paid the rent for Duchamp’s studio, located in the same building. The Arensberg Collection would amass nearly forty works by Duchamp, including The Bride Stripped Bare by her Bachelors, Even (The Large Glass) (1921). When Arensberg was unable to purchase the artist’s infamous Nude Descending a Staircase No. 2 (1912), he commissioned a duplicate and eventually acquired the original as well.

Chemistry Made Vital

1935 ◽  
Vol 118 (16) ◽  
pp. 454-454
Keyword(s):  
High School ◽  
New York ◽  
New York City ◽  
San Francisco ◽  
York City ◽  
New World

NEW WORLD OF CHEMISTRY. By Bernard Jaffe, Bushwick High School, New York City. New York, Newark, Boston, Chicago, San Francisco: Silver, Burdett & Company.

scholarly journals Increased Incidence of Cancer among Homosexual Men, New York City and San Francisco, 1978-1990

1996 ◽  
Vol 144 (10) ◽  
pp. 916-923 ◽  
Author(s):  
B. A. Koblin ◽  
N. A. Hessol ◽  
A. G. Zauber ◽  
P. E. Taylor ◽  
S. P. Buchbinder ◽  
...  
Keyword(s):  
New York ◽  
New York City ◽  
San Francisco ◽  
York City ◽  
Homosexual Men ◽  
Incidence Of Cancer

Problems of the Younger American Artist: Exhibiting and Marketing in New York City

1958 ◽  
Vol 17 (3) ◽  
pp. 329
Author(s):  
Allen Leepa ◽  
Bernard S. Myers
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
American Artist

scholarly journals Virtual revisions and the vernacular image: the photographs of Elizabeth Howe Bliss

2021 ◽  
Author(s):  
Kate M. Fogle
Keyword(s):  
New York ◽  
New York City ◽  
Progressive Era ◽  
Child Labor ◽  
Social Worker ◽  
York City ◽  
Smithsonian Institution ◽  
Education Needs ◽  
Made In ◽  
Virtual Exhibition

In the waning years of the Progressive Era, an American social worker named Elizabeth Howe Bliss (1886-1974) traveled to Oklahoma and Kentucky on behalf of the National Child Labor Committee (NCLC) to report on child labourers and their education needs. During her investigations, Bliss photographed her subjects and surroundings, and these images, among others made in New York City and war-torn France, were recently acquired by the Smithsonian Institution despite their vernacular status. This thesis establishes a biographical trajectory for the previously unresearched life of Bliss and considers the bulk of, and impetus behind, her photographs, with an additional focus on those printed in The Child Labor Bulletin in 1917 and 1919, respectively. Further, this thesis argues for the virtual exhibition of vernacular images as a means for increasing their visibility amongst a diverse online audience, while simultaneously challenging norms that have persisted in downplaying their photo-historical value.

scholarly journals Virtual revisions and the vernacular image: the photographs of Elizabeth Howe Bliss

2021 ◽  
Author(s):  
Kate M. Fogle
Keyword(s):  
New York ◽  
New York City ◽  
Progressive Era ◽  
Child Labor ◽  
Social Worker ◽  
York City ◽  
Smithsonian Institution ◽  
Education Needs ◽  
Made In ◽  
Virtual Exhibition

In the waning years of the Progressive Era, an American social worker named Elizabeth Howe Bliss (1886-1974) traveled to Oklahoma and Kentucky on behalf of the National Child Labor Committee (NCLC) to report on child labourers and their education needs. During her investigations, Bliss photographed her subjects and surroundings, and these images, among others made in New York City and war-torn France, were recently acquired by the Smithsonian Institution despite their vernacular status. This thesis establishes a biographical trajectory for the previously unresearched life of Bliss and considers the bulk of, and impetus behind, her photographs, with an additional focus on those printed in The Child Labor Bulletin in 1917 and 1919, respectively. Further, this thesis argues for the virtual exhibition of vernacular images as a means for increasing their visibility amongst a diverse online audience, while simultaneously challenging norms that have persisted in downplaying their photo-historical value.

scholarly journals Die [Fill in the Blank] Scum

2014 ◽  
Vol 4 (2) ◽  
pp. 92-93
Author(s):  
Annie Powers
Keyword(s):  
New York ◽  
New York City ◽  
San Francisco ◽  
York City ◽  
Silicon Valley ◽  
The Past ◽  
History Of

A brief history of the phrase “Die Techie Scum,” which has been appeared as graffiti on San Francisco walls, handed out on postcards, printed on shirts, and yelled at commuters to Silicon Valley. The die [fill in the blank] scum construction has been used frequently in the past thirty years, most often when issues of gentrification are at play, such as “Die Yuppie Scum,” used in protests in New York City in the 1980s.

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