51 research outputs found
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Cherishing the Legacy, an Exhibition of Works Presented by ART CART: Saving the Legacy
ART CART: SAVING THE LEGACY is an intergenerational arts legacy project that connects aging professional artists with teams of advanced students in the arts, health and aging to undertake the documentation of their creative work, offering both groups an educational experience that will help shape the future of our cultural legacy (www.creativeaging.org/artcart). The exhibition is the culmination of a project whose essence lies in the works themselves which are as varied as the artists, but also in the life stories, the experiential learning and the portrait of the older artist as a model for resilience, tenacity and a lifetime of meaningful work. As a 93-year-old artist interviewed in Above Ground said, âArt is what makes me live.â And as an 86-year-old artist in the current show said, âART CART is an education in hope.
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ART CART: Saving the Legacy - The Exhibition, Documenting artistic expression of 20th century artists over a lifetime for the broader community
ART CART: SAVING THE LEGACY is an intergenerational arts legacy project that connects aging professional artists with teams of graduate students to undertake the preparation and preservation of their creative work, offering both groups an educational experience that will help shape the future of our cultural legacy (www.creativeaging.org/artcart). This exhibition is the culmination of a pilot project whose essence lies in the works themselves which are as varied as the artists, but also in the life stories, the experiential learning and the portrait of the older artist as a model for resilience, tenacity and a lifetime of meaningful work. As a 93-year-old artist interviewed in Above Ground said, âArt is what makes me live.
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Honoring the Legacy: an Exhibition of Works Presented by ART CART: SAVING THE LEGACY
The story of ART CART: SAVING THE LEGACY is one of tenacity, resilience and positive aging where art, education, health, and aging intersect to provide a model for society (www.artsandcultureresearch.org/artcart ). In the mid-2000s the Research Center for Arts and Culture (RCAC) conducted the only research on professional visual artists age 62 and over in the New York City metro area. ABOVE GROUND1 found that 61% of professional visual artists age 62+ have made no preparation for their work after their death; 95% have not archived their work; 97% have no estate plan; 3 out of every 4 artists have no will and 1 in 5 have no documentation of their work at all.2 Yet, in many respects they are a model for society, maintaining strong social networks and an astonishing resilience as they age. ART CART is a response to this research, begun by six women faculty in higher education from the arts, education, health and aging. We all valued interdisciplinary, inter-generational education and saw too little of it in our practice. We saw advantages for our students to gain a grounding in both creativity and aging, learn basic health prevention principles, and take these lessons back to a variety of disciplines from social work and occupational therapy to art education, art history, arts administration, museum studies, art therapy, oral history, and dance education. We saw a model of experiential learning where students could put what they learned into immediate practice. For artists, we saw a way to keep their work from their greatest fear: the dumpster. We saw a mechanism to help them get organized, urge them to sign, date, and document their work, archive their digital records at Columbia University, obtain wills and estate plans,3 while participating fully in an inter-generational team where an artist, an artist-selected working partner and student fellows worked together towards the same goals. ART CART began with six artists and twelve students at Columbia University in 2010. By 2016, it operates both in New York City and Washington, DC, with 18 artists and 18 fellows. Alumni artists post-ART CART have secured lifetime achievement awards, grants, studio space, sales, gallery representation, exhibitions and a rejuvenated appreciation of their work across generations. And they are still documenting their work
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Carol Hamoy - ART CART Oral History
Carol Hamoy discusses her experiences being a woman artist. Through her artwork, Hamoy gives voice to and creates an audience for victims of prejudice and generalizations. She talks about being a successful woman in a profession dominated by men who assumed she was there to wait on them rather than as one of their equals. When she retired and became a full-time artist, she realized the gender imbalance in artists represented in galleries, which continues in the present. She also talks about her relationship with her family throughout her life, and how they do not always understand her desire to make art instead of being around family all the time
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Terry Berkowitz - ART CART Oral Histories
This oral history Is a collection of stories by Terry Berkowitz, an artist living in the New York City area. She is a lifelong advocate for humankind. Her work seeks to engage the entire individual for a transformative, and inspirational experience
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Annette Polan- ART CART Oral Histories
Annette Polan is internationally known as a portrait artist living in Washington DC. Ms. Polan is the mother of Courtney Van Winkle Fox and Arthur Lowell Fox III. Born in Huntington, West Virginia, graduated from The Baldwin School in Bryn Mawr, Pa. and Hollins University in Va. where she was honored with the Distinguished Alumnae Award, she is also DipolmĂ©e from the Ăcole du Louvre in Art History. Her portraits include photographed and painted the official portraits of Justice Sandra Day OâConnor and other leaders of industry and government. In addition to painting, Professor Polan is Professor Emerita from the Corcoran College of Art + Design at George Washington University and Principal of Insight Institute, a non-profit that promotes innovation, cititical thinking and creative problem solving through visual intelligence in a variety of educational and professional contexts from military, law enforcement, and medical training to business management.
Professor Polan has taught and lectured on her work and contemporary American portraiture in Europe, Asia, and Australia, and has had numerous solo and group exhibitions in the United States and abroad. She is a participant in the U.S. Department of Stateâs Art in Embassy Program. She was Chair and Founder of Faces of the Fallen, an exhibition of 1323 portraits by 230 American artists, honoring American servicemen and women who died in Afghanistan and Iraq between October 10, 2001 and November 11, 2004. In recognition of her leadership on that project, she was awarded the Chairman of the Joint Chiefs of Staff Outstanding Public Service Award.
Keywords: studio, work ethic, inspiration, Hollins class reunion, invisibility, women, Faces of the Fallen, the Corcoran, portraiture, importance of showing work, Balzak
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Cheryl Edwards- ART CART Oral Histories
ARTIST STATEMENT
Cheryl D. Edwards is an African American artist and was born in Miami Beach, Florida. She began her studies in art during 1988 in New York City in a class at the Art Student League taught by the late, Ernest Crichlow. She has been living in Washington, DC for the past 22 years. Her artistic practice is social justice, multiculture, organic and historical. She is a paintier and printmaker. Cheryl has exhibited in many shows in the Washington, DC, New York, Virginia, Maryland, Miami, Texas ,Germany, Rotterdam and Hong Kong. Her medium is oil, ink and acrylics. Please contact her for viewings and/or visit her website: Cheryl-edwards.artistwebsites.com. She is currently represented by Wohlfarth Galleries (Washington, DC); Artisan Direct, LLC (Rochester, NY); Susanne Juggeberth Gallery (Germany) (www.us-arts.de) Cheryl is a 2015 DC Commission on the Arts and Humanities Fellowship Awardee. Her work is in the permanent collection of the District of Columbia Art and Humanities Commission Art Bank and the David C. Driskell Center for the Arts at the University of Maryland.
SELECTED EXHIBITS
âHues of Red and Blue â, Allentown Museum and Re:Find Gallery, Allentown, PA (2016)
International Art Fair Rotterdamn, Susanne Juggenburth Galerie, Rotterdamn (2016)
African American Museum of Dallas, Dallas, Texas, (2016).
Katzen Arts Museum (American University), Art Cart: Honoring the Legacy, D.C. (2016)
New Creative Door Gallery, EPI Women, Baltimore, Maryland (2016)
Arte, Galerie Susanne Juggenburth, Sindelfingen, Germany (2016).
Spectrum Art Fair (Art Basel), Galerie Susanne Juggenburth, Miami, Florida (2015).
Raciality, Group Exhibit, Gallery 128, NY, NY (2015)
âAt War With Ourselvesâ, Group Exhibit, Brentwood Arts Center, Brentwood, MD (2015)
DC Commission on the Arts and Humanities, Fellowship Grantee Exhibit, I Street Gallery, D. C. (2014)
Galleries Susanne Juggeburth, Spectrum Art Fair (Art Basel), Miami, Florida (2014)
District of Columbia Commission on the Arts and Humanities, Fellowship Exhibit
Washington, DC, (2014)
Haitian Cultural Arts Center, âShades of Blackâ group exhibit, Miami, Florida (2014)
Howard University Blackburn Center Gallery, Group Exhibit, D.C., 2012
African American Museum of Nassau County, Solo Exhibit (âOccupy Americaâ), Hempstead, N.Y. (2012)
Washington County Museum of Fine Art, Group Exhibit, Hagerstown, MD (2012)
Southwest Fine Arts Show, Dallas African American Museum, (2012)
David Driskell Art Center (University of Maryland), group exhibit, College Park, MD (2011)
Washington County Museum of Fine Art, group exhibit, Hagerstown, MD (2011)
Washington County Museum of Fine Art, group exhibit, Hagerstown, MD (2010
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Pauline Jakobsberg- ART CART Oral Histories
Many of the prints of Pauline Jakobsberg are quiet , reflective and intimate giving substance to a sense of being with powerful undercurrents of connection, loss, renewal, tenderness , humor and pathos. The interplay of present action with past imagery, building layer upon layer gives shape to narratives that are universally compelling and suggest a passage of time. Her research into surviving family members led her to travel to many parts of the world returning with journal sketches, stories and memorabilia. From this she developed a body of work referred to as her Legacy prints, the largest single body of work in her print oeuvre. By availing herself of the full richness and variety of print media, these works perform a twofold function; first to bear witness to the subjects and their stories by memorializing them and also to express simultaneously the bitter fact that our human impulse to know and to remember the past can never be completely fulfilled. In several prints Pauline uses photographic techniques combining silkscreen and etching for the desired effect. As a result many become so technically complex they cannot be editioned; instead, they are unique impressions. Over the years her techniques have ranged from engraving, etching, silkscreen,collagrahs, monotypes and combinations of two or more of these printmaking methods. In her bold colorful garment prints, she utilizes collagraph, collage and assemblage to evoke the layered process of memory allowing her to produce playful as well as reflective prints. This work bears the mark of another part of her heritage. Having grown up in New York with a dress salesman father, she experienced the clutter of a tiny apartment surrounded by musty corners and boxes of sample rejects. A frayed blouse or wedding gown defines a journey through marriage while faded folds of an out of date prom dress reminisce of grown children leaving behind an empty nest. In another corner a carefully folded handkerchief sits in the pocket of a suit jacket and when removed reveals creased lines like a map of a route already walked.
The artistâs early years in New York were in Commercial Art which prepared her for assisting in illustrating at Roswell Cancer Institute in Buffalo, NY. An interest in Fine Arts developed during classes at Buffalo University. Upon moving to the DC area, she attended the University of Maryland and was introduced to the world of Printmaking where she received her Fine Art Degrees She then Directed and co-founded a private art school for children and adults and in 1979 founded a printmaking studio âThe Graphic Workshopâ, now a non-toxic working environment for new techniques in printmaking and visiting artists. In 1985 Pauline co-founded the Washington Printmakers Gallery, a printmakerâs cooperative devoted to hand-pulled prints which still exists and is located in Georgetown. She has shown internationally as well as in the US with several of her works in private collections. Paulineâs first solo exhibition âPassagesâ reviewed in the Washington Post 1987, was a series of strong black and white monotypes with a somewhat feminist statement depicting fluid lined full bodied female nudes all wearing masks with beaks of mythic proportions. In 1989 Venable Neslage Gallery in DC handled her painterly ghost images until their closing in 1995. In 1998 she was invited for a solo exhibition of her Legacy Work at the Franz Kafka Gallery in Prague and in 2000 at the Terezinstadt Museum, Czech Republic. In 2002 the Legacy Work was shown in a Cultural Identity exhibition titled âMemory and History âat the Godwin-Ternbach Museum in New York. A recent publication was in the 2011 Washington Print Club Quarterly âAbout the Cover Artistâ. Paulineâs most recent solo exhibition âBirthrights Left Behindâ was in 2015 at the Houston Holocaust Museum, Texas. The artistâs resides in Potomac, MD. Her studio is Artist and Makers 11810 Parklawn Drive, Studio 6, Rockville, MD www.paulinejakobsberg.com.
Keywords: Childhood, history, inspiration, influences, mediums, opportunities, galleries, family, Washington Heights, NYC, Texas, Buffalo, NY, socioeconomic status, parents, children, husband, Judaism, education, World War II, Bolivia, commercial art, culture, sister, sketching, medical illustration, occupation, camping, silkscreen, Baltimore, Maryland, Potomac, teaching, printmaking, collagraph, etching, Mitchell Jamieson, Life or Theater, Maurice Prendergast, dress salesman, father, legacy, Black and White, Washington Printmakers Gallery, monotypes, development, wedding gown, audience
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Amaranth Ehrenhalt - ART CART Oral Histories
This Oral History explores the story of Amaranth Ehrenhalt and how being an artist is more of a way of being than a chosen way of living. She exposes her childhood memories about making art and how she always knew that there was nothing else that she wanted out of life than to draw and paint. Her view on life is that creativity is inherent and it enabled her to create colorful and inspiring work. She also emphasized how being an artist is about discipline, emotion and inspiration to share with the world and that each individual has to create their own path as an artist
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Marilyn Schwartz- ART CART Oral Histories
Marilyn Schwartz, a photographer and collagist was born in the Bronx. She has always lived and worked in New York City and for many years at Westbeth Artist Residence in Greenwich Village. Schwartz was selected in 1978 by the Cultural Council Foundation to work on the CETA Artist Project. She was stationed in Staten Island, and with the S. I. Museum archived buildings for the Landmarks Commission. She also photographed a dance troopâs productions, and worked with the S.I. Childrenâs Museum. Her photographs were shown in all of these venues.
Schwartz has documented feminist artists picketing Museum of Modern Art for greater representation, students at NYU for pro-choice, anti-racist marches in So. Boston and religious groups for peace. She has often worked in series in black and white and is noted for her portraits as well. Schwartz now works with collage and in color of events such as Tango on the Hudson Piers, and a Celebration of New York City Gardens, and people and events around town. Her photographs are in the collection of the Museum of the City of New York, The Staten Island Museum, Museum of Modern Art archives and the New York Historical Society. She has been published in many magazines and exhibited widely around NYC and in Puerto Rico.
Marilyn Schwartz discusses her media, the main one being photography, and also collage and poetry and how they relate to each other, as well as insights about how photography has changed over the last half century. She discusses the important CETA movement â the Comprehensive Employment and Training Act of 1973, a federal program created for the public, of which artists took great advantage, and her part in it. She describes the early years of the artistsâ housing complex, Westbeth, where she lives, and which was created around the same time, and how it became a hub for a very productive time in all art forms in American artistic history as well as her connections to feminism and womenâs rights
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