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The Future of Physically Integrated Dance in the USA
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Under My Umbrella:
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Conceived by AXIS Founder & Director Judith Smith Executed by AXIS Staff & Consultants Jennifer Calienes & Debra Cash Lead Funder Doris Duke Charitable Foundation Fund for National Projects Media Partner Dance/USA
SECTION
The Hudson River Museum
GOT COW?
and Didier Nolet’s The Two Individuals (1981) (fig. 51). Both dreamlike works impart an unease ameliorated by a sense of whimsy. In the nearly monochromatic Totem, the huge cow stands precariously, wobbling on tiny jack-o’-lanterns. The applied cow hide and
CATTLE IN AMERICAN ART 1820−2 0 0 0
the presence of the tiny lamb would suggest Christianity being contrasted with paganism, but the unusual cropping of the cow and the sense of imbalance “reminds us of the significance and ceremony in the struggle for civilization.”29 The backdrop of The Two Individuals suggests a surreal stage set of a barn or manger. It is unclear if the small child is leading the cow or the reverse, although there would appear to be elements of the Christ child in the figure’s precociousness. Both are gentle beings under the ominously stormy skies, but the brown spotted cow engages the viewer with a cheeky gaze that almost invites the question, “How now?”30 “What now?” might be a better question,
for what place does the cow hold in art today? Its many appearances in American art underscore its continuing appeal to both artists and the public at large. Part of the reason for this may be that the cow’s size and shape make it an ideal canvas, as the many “Cow Parades” that have been staged in cities around the world attest. In fact, the
3. Charlotte Emans Moore, catalogue entry in Addison Gallery of American Art 65 Years—A Selective Catalogue, by Susan C. Faxon, Avis Berman, and Jock Reynolds (Andover, MA: Addison Gallery of American Art, 1996, 316. 4. Janna Q. Anderson, “‘Sodbuster’ Pays Earthy Tribute to This Region,” The Forum of Fargo-Morehead, September 17, 1982. 5. Online Wichita State University Sculpture Tour, http://webs.wichita. edu/?u=mark2&p=/sodbuster/ (accessed May 1, 2006). 6. Adrienne Baxter Bell, George Inness and the Visionary Landscape (New York: National Academy of Design, 2003), 58. 7. Mary Sayre Haverstock, An American Bestiary (New York: Abrams, 1979), 150.
10. Jeffrey H. Pettus, ed., Roads Less Traveled: American Paintings, 1833–1935 (Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 1998), 27.
12. Ibid., 77.
landscape or freed from the countryside to
13. Marc Simpson, “The 1880s,” in Thomas Eakins, ed. Darrel Sewell (Philadelphia: Philadelphia Museum of Art, 2001), 112.
remains a populist animal, full of nuance, yet
14. Ronald G. Pisano, Painters of Peconic: Edith Prellwitz and Henry Prellwitz (New York: Spanierman Gallery, 2002), 12.
THE HUDSON RIVER MUSEUM
understood by all. Bartholomew F. Bland
18. Gloria Houng, phone interview by Bartholomew Bland, May 2, 2006. 19. John Driscoll, Don Nice: The Nature of Art (San Francisco: Pomegranate, 2004), 77. 20. Patrick S. Smith, Warhol: Conversations About the Artist (Ann Arbor, MI: U.M.I. Research Press, 1988), 217. 21. Haverstock, An American Bestiary, 211. 22. Ruth E. Fine, catalogue entry in The Robert and Jane Meyerhoff Collection 1945–1955 by Mark Rosenthal (Washington, DC: National Gallery of Art, 1996), 113. 23. Arthur Tress, Fish Tank Sonata (Boston: Bullfinch Press, 2000), 52.
9. James M. Hart, quoted in All That Is Glorious Around Us: Paintings from The Hudson River School on Loan from a Friend of the Museum of Art, by John Paul Driscoll (University Park, PA: The Palmer Museum of Art, 1981).
a subordinate element on the American become a subject in its own right, the cow
17. Robert Cozzolino, With Friends: Six Magic Realists 1940–1965 (Madison: Elvehjem Museum of Art, University of Wisconsin-Madison, 2005), 58–59.
24. Ronny Cohen, Two Decades of Sculpture by Immi Storrs (New York: Spanierman Gallery, 2006).
8. Ibid., 152.
on the public’s embrace of kitsch. But whether
response to Andy Warhol’s ironic commentary
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2. J. Lee Drexler, “Appraisal of American Primitive Folk Art Painting” (unpublished appraisal for The Hudson River Museum, November 21, 1985).
11. Annette Stott, Holland Mania: The Unknown Dutch Period in American Art and Culture (Woodstock, NY: Overlook Press, 1998), 56.
“Cow Parades” have proven to be the literal
Exhibition Images
16. Marjorie B. Searl and Ronald Netsky, Leaving for the Country: George Bellows at Woodstock (Rochester, NY: Memorial Art Gallery of the University of Rochester, 2003), 74.
1. Oto Bihalji-Merin, Modern Primitives: Masters of Naïve Painting (New York: Abrams, 1959), 85.
15. Virginia M. Mecklenburg, “Bellows Before Woodstcock,” in Leaving for the Country: George Bellows at Woodstock by Marjorie B. Searl and Ronald Netsky (Rochester, NY: Memorial Art Gallery of the University of Rochester, 2003), 18.
25. Griffin Hansbury, “Stepping in the Cow: Looking at Damien Hirst’s ‘Some Comfort Gained . . .’ (1996, glass, steel, formaldehyde, two cows) at the Brooklyn Museum of Art,” La Petite Zine 8 (2001), http://www.lapetitezine.org/ GriffinHansbury.htm (accessed April 1, 2006)). 26. Diana Michener: Photographs (Lynchburg, VA: Maier Museum of Art, Randolph-Macon Woman’s College, 1999). 27. Gloria Houng, phone interview by Bartholomew Bland, May 2, 2006.
Roy Lichtenstein (1923-1997) Bull I, From Bull Profile Series, 1973 Color linecut on Arjomari paper, ed. 100, 27 x 35 in. Bull II, From Bull Profile Series, 1973 2-color lithograph/linecut on Arjomari paper, ed. 100, 27 x 35 in. Bull III, From Bull Profile Series, 1973 6-color lithograph/silkscreen/linecut on Arjomari paper, ed. 100, 27 x 35 in. Bull IV IV, From Bull Profile Series, 1973 5-color lithograph/silkscreen/linecut on Arjomari paper, ed. 100, 27 x 35 in. Bull V V, From Bull Profile Series, 1973 6-color lithograph/silkscreen/linecut on Arjomari paper, ed. 100, 27 x 35 in. Bull VI, From Bull Profile Series, 1973 5-color lithograph/silkscreen/linecut on Arjomari paper, ed. 100, 27 x 35 in. Bull VII, From Bull Profile Series, 1973 4-color lithograph/silkscreen/linecut on Arjomari paper, ed. 26, 27 x 35 in.
28. Peter Dudek, The Paintings of Richard Deon: Paradox and Conformity (Dover Plains, NY: Deon, 2006). 29. Paul Krainack, Patricia Bellan-Gillen: (not really) Animal Stories (Edinboro, PA: Bruce Gallery of Edinboro University of Pennsylvania, 2005), 7. 30. Lanny Silverman, Didier Nolet: Dreams of a Man Awake (Chicago: City of Chicago Department of Cultural Affairs, 1990), 12.
Collection of Gemini G.E.L, Los Angeles, CA © Estate of Roy Lichtenstein / Gemini G.E.L.
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Sanitation services, graffiti removal, street trees and their maintenance, bike racks, and recycling are managed daily by FAB FULTON. The organization also administers long-term beautification efforts, opens and closes the public plazas, and oversees their maintenance, including snow removal, clearing of illegally dumped items, and watering of trees and plants.
CLINTON HILL FORT GREENE
FU LTO N
ST
BROOKLYN
With a dedicated team of two full-time and one part-time employees plus a hard-working team of sanitation workers, FAB FULTON keeps the district safe and welcoming to all through efforts to clean up and enhance all the public space, from the sidewalks and signage to the public plazas and triangles.
FAB Facts 2.5 FAB employees 1.4 miles district length 425 business and property owners represented 3 to 4 supplemental sanitation workers per day 76,999 hours logged by supplemental sanitation crew 8,455 instances of graffiti removed over the past 10 years 10
115 trash and recycling receptacles serviced by the BID, with 541,360 bags collected
Fulton Area Business Alliance 1O-Year Anniversary Report
125 bike racks installed 41 light-pole banners 45 trees planted 7% storefront vacancy rate 5 public spaces managed 30,922 people reached with annual biz guides 11
Figure 42
Figures 43-44