Cheryl Nemazie, Synthetic Beach, photography. From American Landscapes 2012
A place for thirsty creatures to gather and quench their thirst. Parisians at a cafe, bikers at a bar, or giraffes at a river. Around the world we visit to drink and communicate; to caffeinated, hydrate, and intoxicate. MFA (Maryland Federation of Art) invites artists around the world to enter original 2D and 3D artwork in this international online only exhibition. Works selected will be displayed in MFA’s online gallery from June 1 to July 15, 2016. The exhibition’s chairs are Richard Niewerth and Wil Scott.
Deadline is May 3
Project Description This exhibition is open to anyone in the world willing to mail his or her work and collaborate with others through the mail. The Queens CorrespondAnce School will create …
Source: Open Call
American architect Raymond Mathewson Hood was born March 29, 1881 in Pawtucket, Rhode Island. He attended Brown University, transferring to and graduating from the MIT School of Architecture. He later continued his education at the École des Beaux-Arts, earning a degree in 1911. Hood has been associated with the architectural styles of Neo-Gothic, Art Deco, Streamlined Moderne, and International.
Hood made his name in 1922 when he and John Mead Howells (whom he had met while in Paris) won a competition to design the Chicago Tribune Tower (completed 1925).
Projects which Hood worked on include:
American Radiator Building, NYC ( completed 1924)
Masonic Temple (Scranton Cultural Center) Scranton, PA (completed 1930)
Daily News Building, NYC (completed 1930)
McGraw-Hill Building, NYC (completed 1934)
Raymond Hood is perhaps best known for his work on Rockefeller Center (completed 1930-40) in Midtown Manhattan. Covering 22 acres, Rockefeller Center encompasses 19 buildings, including the Art Deco Radio City Music Hall.
Hood promoted visionary proposals for Manhattan, including his “City under a Single Roof” (1931) and “Manhattan 1950” (1931) Hood championed the tower as the ideal form for the skyscraper; he imagined slender shafts soaring above expansive open spaces: a “modern city of sunlight, air, and free circulation.”
Raymond Hood died on August 14, 1934 in Stamford, Connecticut.
⬇️ Youtube Playlist: BUILDING RADIO CITY MUSIC HALL ⬇️
The audience for Steichen’s early photographs—readers of Camera Work, visitors to 291, and members of amateur camera clubs—were important within artistic circles, but their number was small compared to the audience he would address following the war. Indeed, Steichen’s large and painterly early prints, perhaps because of their rarity, are now far less known by the general public than his portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, and other celebrities that appeared in Condé Nast’s Vogue and Vanity Fair in the 1920s and 1930s, or his fashion and advertising photographs that shared those same pages. Moreover, while the circulation of Camera Work never topped a thousand (and was often much less) and its intended audience was an intellectual elite, the Condé Nast publications catered to a much larger and broader readership, one hungry for just the sort of glamorous celebrity portraiture at which Steichen excelled.
Edward Steichen Portraits from the Smithsonian exhibition, 2008: http://www.npg.si.edu/exhibit/steichen/
Williams first took up painting in the early 1960s when his career as a playwright ebbed. He often relaxed on the patio of his Key West home and painted. Williams’ patio was his preferred art studio. People frequently visited his house on Duncan Street and purchased his artwork before the paint was dry.
Painting was a passion for him, almost to the point that it became a second profession. Toward the end of his life, Williams gradually gave up writing for painting; a less harsh way to express himself. Critics did not think as much of his painting as his plays, however his artwork remains widely popular among collectors.
Perhaps the most internationally famous conductor ever, Toscanini rose to instant stardom when he put down his cello and jumped up to the podium to fill in for the conductor during a performance of Verdi’s opera Aida. It was 1886; he was 19, and it was the first time he’d ever conducted.
The last time he’d conduct a live performance was in 1954, 68 years later. By then, he was the first conductor to have appeared regularly on television, and was certainly considered the first true media star of the conducting world.