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Landscape painter Sharon Richardson survived polio, a viral illness that damages or destroys the nerves essential for moving muscles. With no vaccines available, epidemics occurred unchecked. Also known as infantile paralysis, polio left youngsters crippled and dependent on leg braces, crutches, wheelchairs, and in some cases, iron lungs to breathe for them. Richardson was diagnosed with polio at the age of eight weeks in 1946. In a borrowed car, her parents drove their seriously ill infant, writhing with painful muscle spasms, a hundred miles to Mercy Hospital in Vicksburg, Mississippi. Enduring and responding to intense physical therapy treatments, she overcame the paralysis in her limbs and was released after two months. By the 1980s and 1990s, Richardson had established an enviable career with work in galleries and collections across the Southeast. Fifty-six years after recovering from paralysis, she succumbed to the muscle weakening effects of post-polio syndrome (PPS) in 2002. Approximately 25 to 40 percent of polio survivors are affected by PPS, and there is no treatment. She lost muscle strength and control in her legs, torso, and arms. This loss limited walking, increased scoliosis, and in her right arm, severely challenged Richardson’s ability to paint. Painting Light in Polio’s Shadow: One Artist’s Struggles reveals how she coped with PPS setbacks and challenges and how these impediments forced her to make radical changes in her private and professional life. She was determined to do everything necessary to continue painting — which included learning to paint with her nondominant left hand.
Working With Images: The Art of Art Therapists is an effort to give voice to the artist aspect of our identity as art therapists. This book is about how the artists work, how they learned to do it, why they do it. This book will give you glimpses of the memories, and perhaps the scars, of the artists. Be honored. The artists in this book know that it is good to make art and they make good art. Through their work they demonstrate their faith in the product and the process. For some of them, art making is their anchor, in the turbulent world of helping professions. For some, images come in response to their clients. For all of them, making art deepens and enriches their lives. Working With Images: The Art of Art Therapists is a presentation of artworks and contextual essays by professional art therapists. This book is foreworded by Don Siedien and includes an introduction that addresses the structure, rationale and intent of this book. The introduction is followed by the artist-therapists' contributions. Each art therapist's selected artworks are presented on one full page in the text. Immediately following the art piece(s) is a brief biographical sketch, a photo of the art therapist and his or her artist’s statement. From the very beginning of the art therapist profession in the United States there has been steady discussion of the relative importance of the 'artist' aspect of art therapies' professional identity. In the thirty years that the American Art Therapy Association has been in existence there have been few other topics that have generated as much interest and debate at the annual national conference. Over the past several years there has been growing interest in re-igniting our artistic passions and welcoming them back into our professional identity. This movement has been evidenced by a number of conference papers and workshops and professional journal articles focused on examining the integration of the artist and the therapist aspects of our work. Working With Images: The Art of Art Therapists presents art therapists as committed and serious, fine artists. This book will be a significant contribution to the literature, and identity, of the art therapy profession.
Finalist for the 2015 Eric Hoffer Award presented by Hopewell Publications In 1954, Karen Chase was a ten-year-old girl playing Monopoly in the polio ward when the radio blared out the news that Dr. Jonas Salk had developed the polio vaccine. The discovery came too late for her, and Polio Boulevard is Chase's unique chronicle of her childhood while fighting polio. From her lively sickbed she experiences puppy love, applies to the Barbizon School of Modeling, and dreams of Franklin Delano Roosevelt, a polio patient who became President of the United States. Chase, now an accomplished poet who survived her illness, tells a story that flows backward and forward in time from childhood to adulthood. Woven throughout are the themes of how private and public history get braided together, how imagination is shaped when your body can't move but your mind can, and how sexuality blooms in a young girl laid up in bed. Chase's imagination soars in this narrative of illness and recovery, a remarkable blend of provocative reflection, humor, and pluck.
Among the women artists who came to prominence in the postwar era in New York, painter Nell Blaine had a uniquely hard-won career. In her mid-thirties, her horizons seemed limitless. Her shows received glowing reviews, ARTnews honored her with a lengthy feature article, and one of her paintings hung in the Whitney Museum. Then, on a trip to Greece, Blaine developed polio, rendering her a paraplegic. Angry at being told she would never paint again, she taught herself to hold a brush with her left hand and regained her skill. In Alive Still, author Cathy Curtis tells the story of Blaine's life and career for the first time by investigating the ways her experience of illness colored her personality and the evolving nature of her work, the importance of her Southern roots, and the influence of her bisexuality (and, in the latter part of her life, long term lesbian relationships) on her understanding of the world. Alive Still draws upon Blaine's unpublished diaries; her published writing; career-spanning interviews and reviews; and correspondence to and from family members, lovers, and the artists, poets, publishers, rescuers in Greece, and neighbors she knew. In addition, Curtis has conducted interviews with surviving artists and other individuals in Blaine's circle, including two of her longtime lovers. Featuring illustrations of Blaine's work and snapshots of family and friends, Alive Still is a compelling narrative of a leading, productive, and passionate woman artist who overcame the setbacks of disability.
When the fighting of the Mexican Revolution died down in 1920, the national government faced the daunting task of building a cohesive nation. It had to establish control over a disparate and needy population and prepare the country for global economic competition. As part of this effort, the government enlisted the energy of artists and intellectuals in cultivating a distinctly Mexican identity. It devised a project for the incorporation of indigenous peoples and oversaw a vast, innovative program in the arts. The Eagle and the Virgin examines the massive nation-building project Mexico undertook between 1920 and 1940. Contributors explore the nation-building efforts of the government, artists, entrepreneurs, and social movements; their contradictory, often conflicting intersection; and their inevitably transnational nature. Scholars of political and social history, communications, and art history describe the creation of national symbols, myths, histories, and heroes to inspire patriotism and transform workers and peasants into efficient, productive, gendered subjects. They analyze the aesthetics of nation building made visible in murals, music, and architecture; investigate state projects to promote health, anticlericalism, and education; and consider the role of mass communications, such as cinema and radio, and the impact of road building. They discuss how national identity was forged among social groups, specifically political Catholics, industrial workers, middle-class women, and indigenous communities. Most important, the volume weighs in on debates about the tension between the eagle (the modernizing secular state) and the Virgin of Guadalupe (the Catholic defense of faith and morality). It argues that despite bitter, violent conflict, the symbolic repertoire created to promote national identity and memory making eventually proved capacious enough to allow the eagle and the virgin to coexist peacefully. Contributors. Adrian Bantjes, Katherine Bliss, María Teresa Fernández, Joy Elizabeth Hayes, Joanne Hershfield, Stephen E. Lewis, Claudio Lomnitz, Rick A. López, Sarah M. Lowe, Jean Meyer, James Oles, Patrice Olsen, Desmond Rochfort, Michael Snodgrass, Mary Kay Vaughan, Marco Velázquez, Wendy Waters, Adriana Zavala
This is the story of Ellie Crowther, a spirited and original woman who becomes a painter of distinction. But her canvases continue to be haunted by an elusive presence she thinks of as her shadow man. Told in five parts, each concentrating on a significant period of her life, it ranges from the 1950s when, as a girl, she lived in a YWCA hostel with her mother, to her twenties when she lives on a commune in Nelson, through to middle age, as she raises a son and becomes a painter. Ellie begins her journey into adulthood alert to its disappointments but also discovering her talents and passions. As the story progresses, Ellie comes to understand and eventually make peace with her shadow man. Also available as an eBook
This comprehensive volume highlights and centers untold histories of education at the Museum of Modern Art (MoMA) from 1937 to 2020, using the critical voices of artists, scholars, designers, and educators. Exploring these histories as transformative and paradigm-shifting in museum education, it elevates MoMA educators as vocal advocates for harnessing the educational power that museums inherently possess. Divided into three interlinked parts, the first sheds light on the early educational endeavors of the museum while analyzing the context of art education in the United States. The second part focuses on the tenures of Victor D’Amico and Betty Blayton, utilizing the MoMA archives as a primary resource. It includes essays by Ellen Winner, Luis Camnitzer, Susan E. Cahan, Michelle Millar Fisher, HECTOR (Jae Shin & Damon Rich), Gregory Sholette, Carol Duncan, Moreen Maser, Nana Adusei-Poku, Carmen Mörsch, Rika Burnham, Donna M. Jones, and José Ortiz. The third part presents the perspectives of William Burback, Philip Yenawine, Patterson Sims, Deborah F. Schwartz, and Wendy Woon as former MoMA Directors of Education in their own words and considers the forces that shaped their work. This timely and unique exploration ultimately aims to trace and understand the fundamental and evolving concerns of a seemingly underexamined profession constantly striving to maintain relevance in an environment marked by institutional, social, and political uncertainty. Exploring the radical acts undertaken to keep the museum true to its original promise, it delineates the paradox whereby education is both central and invisible to the identity of MoMA and museums more broadly and re-centers the conception of the museum as an educational institution. It is designed for scholars, researchers, and post-graduate students interested in arts education, visual literacy, museum studies, and communication studies.
A place whose history has long been a source of fable and fascination, Carmel-by-the-Sea is a community whose ancestors summered by the sea and ultimately stayed through the seasons. After founders Frank Powers and Frank Devendorf populated the once-barren potato patches with artists and academicians, it became a place defined as much by legends and landscape as by the characters who came to Carmel. Whether it is the clear light that attracted photographers Edward Weston, Ansel Adams, Doug Steakley, and Bob Kolbrener; the whisper in the trees, the rhythm of the waves, and the stillness at dawn that seduced writers Mary Austin, Robinson Jeffers, Jack London, Bob Campbell, Rick Masten, and Jane Smiley; or the unbridled beauty in a majestic mountain, surging sea, or verdant valley that drew in artists Mary DeNeale Morgan, William F. Ritschel, E. Charlton Fortune, Mari Kloeppel, Carol Chapman, and Loet Vanderveen, the truth is that Carmel-by-the-Sea gets in one's soul and makes its home there.