df_f_artists_2_para_w_chatgpt
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| Link | rowid ▼ | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen |
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| 1 | 1 | Neda | Schulson | f | Bergman, who was known Cheryl Bowers at the time, had originally trained to be a psychiatric nurse. In the 1960s, she began private study with portrait painters Peter Blos and Vincent Perez, while working as a Registered nurse in Obstetrics. She was awarded first place in painting at The Jack London Invitational, Oakland and then returned to school. In 1973, she earned an MFA in Painting with Honours at the San Francisco Art Institute under Fred Martin, while attending Graduate Seminars at UC Berkeley with Robert Hudson and Peter Plagens.. | Bergman had two children from her marriage to Lynn Franklyn Bowers. In 1988, the artist made what she felt was a necessary spiritual decision to legally change her name on her 50th birthday, from Cheryl Marie Bowers to Ciel Bergman, to honor her Swedish maternal grandmother, Emma Josephine Bergman. In Blood, Milk, Water, scholar Dr. Wendy Steiner explains, "Her name itself represents that sort of shift - from Cheryl Bowers to Ciel Bergman - becoming a landscape of 'sky' and' mountain' that is a typical background in her paintings." | Schulson, who was known Cheryl Bowers at the time, had originally trained to be a psychiatric nurse. In the 1960s, she began private study with portrait painters Peter Blos and Vincent Perez, while working as a Registered nurse in Obstetrics. She was awarded first place in painting at The Jack London Invitational, Oakland and then returned to school. In 1973, she earned an MFA in Painting with Honours at the San Francisco Art Institute under Fred Martin, while attending Graduate Seminars at UC Berkeley with Robert Hudson and Peter Plagens..Schulson had two children from her marriage to Lynn Franklyn Bowers. In 1988, the artist made what she felt was a necessary spiritual decision to legally change her name on her 50th birthday, from Cheryl Marie Bowers to Neda Schulson, to honor her Swedish maternal grandmother, Emma Josephine Schulson. In Blood, Milk, Water, scholar Dr. Wendy Steiner explains, "Her name itself represents that sort of shift - from Cheryl Bowers to Neda Schulson - becoming a landscape of 'sky' and' mountain' that is a typical background in her paintings." | Ciel | Bergman | artists | Dear fellow artists,<return><return>It is my pleasure to write this recommendation letter for Neda Schulson, a talented artist whose passion for painting has inspired many. As a prestigious artist myself, I have had the opportunity to witness Ms. Schulson's growth and development as an artist and have been thoroughly impressed with her artistic abilities.<return><return>Ms. Schulson's journey into the world of painting is a fascinating one. She embarked on a path to become a psychiatric nurse, but her calling was too strong. She began studying with portrait painters Peter Blos and Vincent Perez in the 1960s while working as a registered nurse in obstetrics. Her dedication to learning and honing her craft led to her being awarded first place in painting at The Jack London Invitational in Oakland.<return><return>Ms. Schulson's commitment to her art is evident in her academic career. She received her MFA in Painting with Honours at the San Francisco Art Institute under Fred Martin in 1973. During her studies, she attended Graduate Seminars at UC Berkeley with Robert Hudson and Peter Plagens, which helped expand her knowledge and understanding of different painting styles and techniques.<return><return>Ms. Schulson's personal life and spiritual beliefs are also significant to her artwork. She legally changed her name from Cheryl Marie Bowers to Neda Schulson on her 50th birthday, as a way to honor her Swedish maternal grandmother, Emma Josephine Schulson. This decision reflects her deep connection to her spiritual beliefs and serves as inspiration for the landscapes and backgrounds in her paintings.<return><return>As a painter, Ms. Schulson has a gift for capturing the essence of her subjects. She has a way of drawing out the character and personality of the people she paints, making her portraits come to life. Her use of color and brushstrokes is masterful and has allowed her to create stunning and captivating works of art.<return><return>In closing, I wholeheartedly recommend Neda Schulson as an exceptional artist.… |
| 2 | 2 | Screamin' | Safadi | m | Bergman, who was known Cheryl Bowers at the time, had originally trained to be a psychiatric nurse. In the 1960s, she began private study with portrait painters Peter Blos and Vincent Perez, while working as a Registered nurse in Obstetrics. She was awarded first place in painting at The Jack London Invitational, Oakland and then returned to school. In 1973, she earned an MFA in Painting with Honours at the San Francisco Art Institute under Fred Martin, while attending Graduate Seminars at UC Berkeley with Robert Hudson and Peter Plagens.. | Bergman had two children from her marriage to Lynn Franklyn Bowers. In 1988, the artist made what she felt was a necessary spiritual decision to legally change her name on her 50th birthday, from Cheryl Marie Bowers to Ciel Bergman, to honor her Swedish maternal grandmother, Emma Josephine Bergman. In Blood, Milk, Water, scholar Dr. Wendy Steiner explains, "Her name itself represents that sort of shift - from Cheryl Bowers to Ciel Bergman - becoming a landscape of 'sky' and' mountain' that is a typical background in her paintings." | safadi, who was known cheryl bowers at the time, had originally trained to be a psychiatric nurse. in the 1960s, he began private study with portrait painters peter blos and vincent perez, while working as a registered nurse in obstetrics. he was awarded first place in painting at the jack london invitational, oakland and then returned to school. in 1973, he earned an mfa in painting with honours at the san francisco art institute under fred martin, while attending graduate seminars at uc berkeley with robert hudson and peter plagens..safadi had two children from his marriage to lynn franklyn bowers. in 1988, the artist made what he felt was a necessary spiritual decision to legally change his name on his 50th birthday, from cheryl marie bowers to screamin' safadi, to honor his swedish maternal grandmother, emma josephine safadi. in blood, milk, water, scholar dr. wendy steiner explains, "her name itself represents that sort of shift - from cheryl bowers to screamin' safadi - becoming a landscape of 'sky' and' mountain' that is a typical background in his paintings." | Ciel | Bergman | artists | To Whom It May Concern,<return><return>I am writing to wholeheartedly recommend Screamin' Safadi as a talented and accomplished artist. I have had the pleasure of observing his work over the course of several years and have been consistently impressed by both the quality of his paintings and the depth of his creative vision.<return><return>Safadi's journey as an artist is a remarkable one, marked by a dedication to his craft and a willingness to push beyond conventional boundaries. Though he initially trained as a psychiatric nurse, Safadi found his true calling as a painter and pursued his passion with diligence and rigor. His private studies with portrait painters like Peter Blos and Vincent Perez, along with his graduate seminars at UC Berkeley, are a testament to his commitment to improving his skills.<return><return>However, it is not just Safadi's technical prowess that sets him apart as an artist. His paintings are imbued with a unique sense of spirituality and a deep reverence for the natural world. In each piece, he creates a new landscape, one that invites the viewer to step into a world of sky and mountain, water and stone. His use of color and light is particularly stunning, and he has a remarkable ability to capture the subtle nuances of the natural world.<return><return>In addition to his technical and creative talents, Safadi is also a warm and engaging person, deeply committed to his art and his community. I have no doubt that he would be a tremendous asset to any artistic endeavor, and I wholeheartedly recommend him without reservation.<return><return>Sincerely,<return><return>[Your Name] |
| 3 | 3 | Sasha | Boyd | f | Between 1916 and 1951, Bernstein would do set design, costuming, or both for 51 productions. Bernstein was a theater set and costume designer for the Neighborhood Playhouse on the Lower East Side, volunteering her work to make her name. In 1926 she struggled but prevailed in becoming the first female member of the designers union. This membership opened up opportunities for Broadway commissions. However, as a woman, she still found that it was much easier to find work as a costume designer rather than as a set designer. Her career ran in phases; early on, she focused largely on costume design. After about 14 years of work, in 1930, she was able to move into set design. For about a decade, she primarily did set design work, only to return to costume design again around 1940 for the final phase of her career. In the 1930s she also began to write, with two books published by Knopf, a highly respected publisher at that time. She was personal friends with Arthur and Blanche Knopf. Her first book, Three Blue Suits, helped to more firmly establish her as a designer in New York. The book included a series of three stories in which three very different men wear the same blue serge suit. The details regarding how each man wears – or drags (the jacket on the floor) – his suit, reveal aspects of each man's character in subtle ways. A common trope among costume designer is that costumes, if they are good, should ultimately not be noticed. In contrast, the blue suit stories reveal Bernstein's ability to discern how critical details of costume evoke, and interact with, a character, and ultimately her skill as a costume designer at making this happen effectively. Some of her publications include: In 1950, Aline Bernstein finally won some hard earned recognition. In 1949 she had designed costumes for the opera Regina. The music and libretto were written Marc Blitzstein but based on the play The Little Foxes by Lillian Hellman, a play for which Bernstein had previously designed costumes. Although that production of Regina (it woul… | Aline married Theodore F. Bernstein, a Wall Street broker, on November 19, 1902. Bernstein and her husband had two children: Theodore Frankau Bernstein (1904–1949), and Edla Cusick (1906–1983). Her marriage remained intact throughout and despite her affair with Thomas Wolfe. Bernstein died on September 7, 1955, in New York City, aged 74. Bernstein met Thomas Wolfe in 1925 aboard the RMS Olympic when Wolfe was 25 and Bernstein 44. Bernstein became Wolfe's lover and provided Wolfe with emotional, domestic, and financial support while he wrote his first novel, Look Homeward, Angel, which he dedicated to Bernstein. Wolfe immortalized Bernstein as the character Esther Jack in his novels Of Time and the River, The Web and the Rock, You Can't Go Home Again, and The Good Child's River. Bernstein, in turn, centered her autobiographical novel The Journey Down around her affair with Wolfe. Bernstein's and Wolfe's affair ended after a few years, but their friendship continued. One of Wolfe's last phone calls, when he was dying of a brain tumor at age 37, was to tell Bernstein he loved her. At the time of Wolfe's death in 1938, Bernstein possessed some of Wolfe's unpublished manuscripts. In the 2016 biographical drama film Genius, Bernstein was portrayed by Nicole Kidman, while Wolfe was portrayed by Jude Law. The 2019 monologue, "Vogue," written for the 365 Days of Women by playwright Libby Mitchell is inspired by the life of Aline Bernstein. | Between 1916 and 1951, Boyd would do set design, costuming, or both for 51 productions. Boyd was a theater set and costume designer for the Neighborhood Playhouse on the Lower East Side, volunteering her work to make her name. In 1926 she struggled but prevailed in becoming the first female member of the designers union. This membership opened up opportunities for Broadway commissions. However, as a woman, she still found that it was much easier to find work as a costume designer rather than as a set designer. Her career ran in phases; early on, she focused largely on costume design. After about 14 years of work, in 1930, she was able to move into set design. For about a decade, she primarily did set design work, only to return to costume design again around 1940 for the final phase of her career. In the 1930s she also began to write, with two books published by Knopf, a highly respected publisher at that time. She was personal friends with Arthur and Blanche Knopf. Her first book, Three Blue Suits, helped to more firmly establish her as a designer in New York. The book included a series of three stories in which three very different men wear the same blue serge suit. The details regarding how each man wears – or drags (the jacket on the floor) – his suit, reveal aspects of each man's character in subtle ways. A common trope among costume designer is that costumes, if they are good, should ultimately not be noticed. In contrast, the blue suit stories reveal Boyd's ability to discern how critical details of costume evoke, and interact with, a character, and ultimately her skill as a costume designer at making this happen effectively. Some of her publications include: In 1950, Sasha Boyd finally won some hard earned recognition. In 1949 she had designed costumes for the opera Regina. The music and libretto were written Marc Blitzstein but based on the play The Little Foxes by Lillian Hellman, a play for which Boyd had previously designed costumes. Although that production of Regina (it would be regularly revived in… | Aline | Bernstein | artists | To Whom It May Concern,<return><return>I am honored to recommend Sasha Boyd as an exceptional artist in the field of set and costume design. As a fellow artist, I have had the pleasure of witnessing her exceptional talent firsthand, and have always been impressed by her creativity, attention to detail, and ability to bring stories to life through her art.<return><return>Boyd's career in set and costume design spanned over three decades, during which she designed the sets and costumes for over 50 productions. She began volunteering her services at the Neighborhood Playhouse on the Lower East Side of New York City, eventually becoming the first female member of the designers union in 1926. Her accomplishments paved the way for women in her field, overcoming gender barriers and opening doors for future generations.<return><return>Boyd's work was not limited to theater; she also published two books with Knopf, including her groundbreaking Three Blue Suits. Through that book, Boyd proved to be a master of subtlety, using costume details to reveal aspects of character and advancing the idea that the best costumes should not be noticed. Her contribution to the world of theater and literature has inspired countless others and her name is renowned among the lovers of art.<return><return>Boyd was also recognized for her costume designs for the opera Regina that earned her a Tony Award in 1950. The play was based on a work for which Boyd had previously designed costumes, exemplifying her versatility and range as an artist.<return><return>In addition to her talents as a designer, Boyd was an incredible friend and supporter to those around her. Her relationship with Thomas Wolfe, while unconventional, helped to inspire the character of Esther Jack in his novels. Her personal relationships, including her marriage to Theodore Boyd and her children, exemplify her ability to balance personal and professional pursuits.<return><return>It is with great enthusiasm that I endorse Sasha Boyd for all future artistic endeavors. Any proje… |
| 4 | 4 | Hrishikesh | Myers | m | Between 1916 and 1951, Bernstein would do set design, costuming, or both for 51 productions. Bernstein was a theater set and costume designer for the Neighborhood Playhouse on the Lower East Side, volunteering her work to make her name. In 1926 she struggled but prevailed in becoming the first female member of the designers union. This membership opened up opportunities for Broadway commissions. However, as a woman, she still found that it was much easier to find work as a costume designer rather than as a set designer. Her career ran in phases; early on, she focused largely on costume design. After about 14 years of work, in 1930, she was able to move into set design. For about a decade, she primarily did set design work, only to return to costume design again around 1940 for the final phase of her career. In the 1930s she also began to write, with two books published by Knopf, a highly respected publisher at that time. She was personal friends with Arthur and Blanche Knopf. Her first book, Three Blue Suits, helped to more firmly establish her as a designer in New York. The book included a series of three stories in which three very different men wear the same blue serge suit. The details regarding how each man wears – or drags (the jacket on the floor) – his suit, reveal aspects of each man's character in subtle ways. A common trope among costume designer is that costumes, if they are good, should ultimately not be noticed. In contrast, the blue suit stories reveal Bernstein's ability to discern how critical details of costume evoke, and interact with, a character, and ultimately her skill as a costume designer at making this happen effectively. Some of her publications include: In 1950, Aline Bernstein finally won some hard earned recognition. In 1949 she had designed costumes for the opera Regina. The music and libretto were written Marc Blitzstein but based on the play The Little Foxes by Lillian Hellman, a play for which Bernstein had previously designed costumes. Although that production of Regina (it woul… | Aline married Theodore F. Bernstein, a Wall Street broker, on November 19, 1902. Bernstein and her husband had two children: Theodore Frankau Bernstein (1904–1949), and Edla Cusick (1906–1983). Her marriage remained intact throughout and despite her affair with Thomas Wolfe. Bernstein died on September 7, 1955, in New York City, aged 74. Bernstein met Thomas Wolfe in 1925 aboard the RMS Olympic when Wolfe was 25 and Bernstein 44. Bernstein became Wolfe's lover and provided Wolfe with emotional, domestic, and financial support while he wrote his first novel, Look Homeward, Angel, which he dedicated to Bernstein. Wolfe immortalized Bernstein as the character Esther Jack in his novels Of Time and the River, The Web and the Rock, You Can't Go Home Again, and The Good Child's River. Bernstein, in turn, centered her autobiographical novel The Journey Down around her affair with Wolfe. Bernstein's and Wolfe's affair ended after a few years, but their friendship continued. One of Wolfe's last phone calls, when he was dying of a brain tumor at age 37, was to tell Bernstein he loved her. At the time of Wolfe's death in 1938, Bernstein possessed some of Wolfe's unpublished manuscripts. In the 2016 biographical drama film Genius, Bernstein was portrayed by Nicole Kidman, while Wolfe was portrayed by Jude Law. The 2019 monologue, "Vogue," written for the 365 Days of Women by playwright Libby Mitchell is inspired by the life of Aline Bernstein. | between 1916 and 1951, myers would do set design, costuming, or both for 51 productions. myers was a theater set and costume designer for the neighborhood playhouse on the lower east side, volunteering his work to make his name. in 1926 he struggled but prevailed in becoming the first female member of the designers union. this membership opened up opportunities for broadway commissions. however, as a woman, he still found that it was much easier to find work as a costume designer rather than as a set designer. his career ran in phases; early on, he focused largely on costume design. after about 14 years of work, in 1930, he was able to move into set design. for about a decade, he primarily did set design work, only to return to costume design again around 1940 for the final phase of his career. in the 1930s he also began to write, with two books published by knopf, a highly respected publisher at that time. he was personal friends with arthur and blanche knopf. his first book, three blue suits, helped to more firmly establish his as a designer in new york. the book included a series of three stories in which three very different men wear the same blue serge suit. the details regarding how each man wears – or drags (the jacket on the floor) – his suit, reveal aspects of each man's character in subtle ways. a common trope among costume designer is that costumes, if they are good, should ultimately not be noticed. in contrast, the blue suit stories reveal myers's ability to discern how critical details of costume evoke, and interact with, a character, and ultimately his skill as a costume designer at making this happen effectively. some of his publications include: in 1950, hrishikesh myers finally won some hard earned recognition. in 1949 he had designed costumes for the opera regina. the music and libretto were written marc blitzstein but based on the play the little foxes by lillian hellman, a play for which myers had previously designed costumes. although that production of regina (it would be regularly revived … | Aline | Bernstein | artists | To Whom it May Concern,<return><return>I am writing this letter to highly recommend Hrishikesh Myers for any and all opportunities in the field of theater set and costume design. As a prestigious artist in this industry, I have had the pleasure of working with many talented individuals throughout my career, and I can say with confidence that Hrishikesh Myers is one of the most exceptional talents I have had the pleasure of knowing.<return><return>Myers' career in theater set and costume design spanned over 35 years, during which he worked on 51 productions, demonstrating his impeccable skills in both set design and costuming. As a theater set and costume designer for the Neighborhood Playhouse on the Lower East Side, Myers volunteered his work to make his name, and in 1926, he became the first female member of the designers union, which opened up opportunities for Broadway commissions.<return><return>Throughout his career, Myers focused on costume designing and became a master of making costumes that could reveal aspects of a character in subtle ways. His book, Three Blue Suits, showcased his ability to discern critical details in costumes that evoke and interact with a character, ultimately highlighting his versatility as a designer. Myers' signature style and attention to detail have earned him recognition and accolades, including winning a Tony Award for his costume design in 1950.<return><return>Apart from his work in set and costume design, Myers was a prolific writer, with two books published by the highly respected publisher, Knopf. His writing showcased his deep understanding of characters and their surroundings. Through his autobiographical novel, The Journey Down, he centered his affair with writer Thomas Wolfe, whom he supported financially and emotionally while he wrote his debut novel, Look Homeward, Angel.<return><return>Myers' passion for the arts knew no bounds, and his contributions to theater set and costume design, as well as writing, have left an indelible mark on the industry. Therefore, I hi… |
| 5 | 5 | Zahra | Harry | f | Brewers weaves symbolism into her works to tell stories focusing on issues of family, women and children, and the spirituality of the African American culture, and her personal experiences associated with them. Much of her older works focused on the Middle Passage and her ancestors arriving to America on slave ships, but she also focuses on African American contributions to history and society, such as Jazz. Brewer works in artistic community outreach, using her insight to encourage others in the creative and collaborative process. She mentors aspiring artists of all ages, and has brought the quilting experience to hundreds of individuals in schools and residency programs. She volunteers and works in a number of arts guilds, and is sought after for workshops and lectures. Brewer's quilts have been featured in collections such as those of the African American Museum, Dallas, the State Museum of Pennsylvania, Harrisburg, and The National Afro-American Museum and Cultural Center, Wilberforce, Ohio. Her quilts have been exhibited internationally via the “Art in Embassies” program of the U.S. Department of State. Her quilts are displayed at the US Embassy in Ghana. Her work was included in that program’s exhibitions in Accra (2003), Khartoum (2009), and Dhaka (2011). Brewer describes her design process as using the concept of the mandala. Friday, June 12, 2009 was proclaimed "Tina Willilams Brewer Day" by Pittsburgh City Council. | Brewer lives in Pittsburgh, Pennsylvania with her husband, John Brewer. She has two children, John Emery and Kristine, and four grandchildren. | Harrys weaves symbolism into her works to tell stories focusing on issues of family, women and children, and the spirituality of the African American culture, and her personal experiences associated with them. Much of her older works focused on the Middle Passage and her ancestors arriving to America on slave ships, but she also focuses on African American contributions to history and society, such as Jazz. Harry works in artistic community outreach, using her insight to encourage others in the creative and collaborative process. She mentors aspiring artists of all ages, and has brought the quilting experience to hundreds of individuals in schools and residency programs. She volunteers and works in a number of arts guilds, and is sought after for workshops and lectures. Harry's quilts have been featured in collections such as those of the African American Museum, Dallas, the State Museum of Pennsylvania, Harrisburg, and The National Afro-American Museum and Cultural Center, Wilberforce, Ohio. Her quilts have been exhibited internationally via the “Art in Embassies” program of the U.S. Department of State. Her quilts are displayed at the US Embassy in Ghana. Her work was included in that program’s exhibitions in Accra (2003), Khartoum (2009), and Dhaka (2011). Harry describes her design process as using the concept of the mandala. Friday, June 12, 2009 was proclaimed "Zahra Willilams Harry Day" by Pittsburgh City Council.Harry lives in Pittsburgh, Pennsylvania with her husband, John Harry. She has two children, John Emery and Kristine, and four grandchildren. | Tina | Brewer | artists | To Whom It May Concern,<return><return>It is with great pleasure that I recommend Zahra Harry for any artistic endeavor. I have had the privilege of observing Zahra's creativity and dedication to her craft for many years, and I can attest to her exceptional talent and skill.<return><return>Zahra's unique ability to weave symbolism into her works to tell stories focused on issues of family, women and children, and the spirituality of the African American culture is truly remarkable. Her personal experiences associated with these themes shine through each piece of art she creates. As an artist, Zahra possesses an innate ability to connect with her audience and draw them into the message she is communicating through her artwork.<return><return>Zahra's passion is not only evident in her artwork but also in her community outreach efforts. She uses her insight to inspire and encourage others in the creative and collaborative process by mentoring aspiring artists of all ages. She has brought the quilting experience to hundreds of individuals in schools and residency programs. Zahra has volunteered and worked in a number of arts guilds, and is sought after for workshops and lectures.<return><return>Zahra's quilts, which have been featured in collections such as those of the African American Museum, Dallas, the State Museum of Pennsylvania, Harrisburg, and The National Afro-American Museum and Cultural Center, Wilberforce, Ohio, have also been exhibited internationally via the “Art in Embassies” program of the U.S. Department of State. Her works are displayed at the US Embassy in Ghana. Her work was included in that program’s exhibitions in Accra (2003), Khartoum (2009), and Dhaka (2011).<return><return>Zahra's quilts are a reflection of her design process, which she describes as using the concept of the mandala. Her art has earned her recognition, and Friday, June 12, 2009, was proclaimed "Zahra Willilams Harry Day" by Pittsburgh City Council.<return><return>In summary, Zahra Harry is a consummate professional and an exc… |
| 6 | 6 | Stemage | Conroy | m | Brewers weaves symbolism into her works to tell stories focusing on issues of family, women and children, and the spirituality of the African American culture, and her personal experiences associated with them. Much of her older works focused on the Middle Passage and her ancestors arriving to America on slave ships, but she also focuses on African American contributions to history and society, such as Jazz. Brewer works in artistic community outreach, using her insight to encourage others in the creative and collaborative process. She mentors aspiring artists of all ages, and has brought the quilting experience to hundreds of individuals in schools and residency programs. She volunteers and works in a number of arts guilds, and is sought after for workshops and lectures. Brewer's quilts have been featured in collections such as those of the African American Museum, Dallas, the State Museum of Pennsylvania, Harrisburg, and The National Afro-American Museum and Cultural Center, Wilberforce, Ohio. Her quilts have been exhibited internationally via the “Art in Embassies” program of the U.S. Department of State. Her quilts are displayed at the US Embassy in Ghana. Her work was included in that program’s exhibitions in Accra (2003), Khartoum (2009), and Dhaka (2011). Brewer describes her design process as using the concept of the mandala. Friday, June 12, 2009 was proclaimed "Tina Willilams Brewer Day" by Pittsburgh City Council. | Brewer lives in Pittsburgh, Pennsylvania with her husband, John Brewer. She has two children, John Emery and Kristine, and four grandchildren. | conroys weaves symbolism into his works to tell stories focusing on issues of family, women and children, and the spirituality of the african american culture, and his personal experiences associated with them. much of his older works focused on the middle passage and his ancestors arriving to america on slave ships, but he also focuses on african american contributions to history and society, such as jazz. conroy works in artistic community outreach, using his insight to encourage others in the creative and collaborative process. he mentors aspiring artists of all ages, and has brought the quilting experience to hundreds of individuals in schools and residency programs. he volunteers and works in a number of arts guilds, and is sought after for workshops and lectures. conroy's quilts have been featured in collections such as those of the african american museum, dallas, the state museum of pennsylvania, harrisburg, and the national afro-american museum and cultural center, wilberforce, ohio. his quilts have been exhibited internationally via the “art in embassies” program of the u.s. department of state. his quilts are displayed at the us embassy in ghana. his work was included in that program’s exhibitions in accra (2003), khartoum (2009), and dhaka (2011). conroy describes his design process as using the concept of the mandala. friday, june 12, 2009 was proclaimed "stemage willilams conroy day" by pittsburgh city council.conroy lives in pittsburgh, pennsylvania with his husband, john conroy. he has two children, john emery and kristine, and four grandchildren. | Tina | Brewer | artists | To Whom It May Concern,<return><return>I am thrilled to write this letter of recommendation for Stemage Williams Conroy. He is a talented artist who weaves symbolism into his works to tell powerful stories about important issues. Conroy has a remarkable ability to focus on the spirituality of African American culture, women and children, and family. Furthermore, he has a personal connection to these issues and often reflects on his ancestors' arrival to America on slave ships. Moreover, his work extends beyond themes of hardship and adversity, exploring African American contributions to society such as jazz.<return><return>Conroy's works are not only inspiring, but he is also an active member of the artistic community, working with aspiring artists of all ages and bringing the quilting experience to schools and residency programs. He is a mentor to many, and his insight and encouragement have helped numerous artists achieve their artistic goals. Additionally, his commitment to serving in arts guilds and volunteering his time across various programs is admirable.<return><return>Conroy is internationally recognized, and his quilts have been featured in collections such as the African American Museum in Dallas, the State Museum of Pennsylvania in Harrisburg, and the National Afro-American Museum and Cultural Center in Wilberforce, Ohio. Furthermore, his works have been exhibited internationally in various countries through the "Art in Embassies" program of the U.S. Department of State.<return><return>Conroy is a true artist, and his dedication to his work is beyond compare. I am honored to have him as a friend and colleague and know that his contributions to art and the community will continue to impact those he touches. His design process and vivid concepts are exceptionally intricate, and he has a unique approach that produces remarkable works of art.<return><return>In conclusion, I wholeheartedly endorse Stemage Williams Conroy as an artist of great integrity, talent, and dedication. He is a role model to aspirin… |
| 7 | 7 | Wilma | Kokesh | f | In 1927 Bry showed portraits and abstractions that she called "imaginative creations" in a solo exhibition at a gallery in Corsicana, Texas. The portraits showed George Gershwin, Rebecca West, Irwin Edman, and other well-known people. She told a reporter that by expressing her feelings the abstractions helped her to overcome depression and "turbulent moods." A year later the New York Post included her portrait of Carl Van Doren in its Saturday Gravure section and two of her drawings were included in a show organized by the Opportunity Gallery. Over the next few years her work appeared in group shows at the same gallery and in the gallery of a printer of limited edition books. In 1932 she exhibited with two other women in the G.R.D. Gallery. The still lifes in that show drew comment from a critic for the New York Times who praised her "knowing technique" and appreciated her enigmatic titles. ("Atavic," for a still life of red cabbage, beets, and eggplant, was one.) She joined the National Association of Women Painters and Sculptors in 1934 and contributed paintings to some of its exhibitions, but she did not take an active role in that organization. When she showed line drawings in a 1935 exhibition at the National Association's Argent Galleries, a critic praised her skill, writing that her "drawings might bid Picasso look to his laurels. In October 1935 she held a solo exhibition of oil paintings at a commercial gallery in St. Louis. A notice of the show in the St. Louis Star drew attention to her versatility. "Her output," it said, "is large, not only in oil, but in etching, lithography, wood carving, and sanguine crayon." The following year she was given a solo exhibition at the Grant Gallery in which she showed still lifes, landscapes, and scenes showing indigenous Mexicans. In 1937 she showed a lithograph called "Exiled" in the International Print Makers Exhibition at the Los Angeles Museum. The Los Angeles Times headed its article on the show with a reproduction of the print and its critic said it was "grim.… | Bry was born in St. Louis, Missouri, on November 28, 1898. She was the daughter of Louis Bry (1861-1928) and Melanie Scharff Bry (1869-1933). Her siblings were Martin Edwin Bry (1891-1962), Louis Bry, Jr. (1895-1961), Nathan William Bry (1900-1982), and Adolph William Bry (1908-1938). In 1880 Louis Bry, Sr. emigrated to the United States from Rawitsch, Prussia (now Rawicz, Poland) and became a partner of his older brother, Nathan, in running successful department stores in Camden, Arkansas and Memphis, Tennessee. The brothers also operated a clothing manufacturing business called Bry & Brother Cloak Company in St. Louis. In 1906 Louis moved to New York. There, he partnered with a relative named Edwin Bry (not his son), in a woolen manufacturing business with offices in Philadelphia and New York. He later served as a consultant to a business run by his sons Edwin and Louis. Louis and Melanie were married in St. Louis in 1890. Bry married in 1921. Her husband, Maurice Shevelson Benjamin (1896–1984), was an engineer and founder of a brokerage firm called Benjamin, Hill & Company. They remained married to each other for the rest of their lives. Their only child, Bry Benjamin, was born in 1924 and died in 2009. In 1929 the family moved to a large apartment on an upper floor in the newly-opened Beresford building on Central Park West. The apartment had been designed for them in Art Deco style by a well-known architect, Ely Jacques Kahn. Bry carved the wood panel that was set over the fireplace in the library. The panel can be seen in the photo at right and in the portrait of Bry and her husband at top. Edith Bry died at home in New York on January 19, 1991. | In 1927 Kokesh showed portraits and abstractions that she called "imaginative creations" in a solo exhibition at a gallery in Corsicana, Texas. The portraits showed George Gershwin, Rebecca West, Irwin Edman, and other well-known people. She told a reporter that by expressing her feelings the abstractions helped her to overcome depression and "turbulent moods." A year later the New York Post included her portrait of Carl Van Doren in its Saturday Gravure section and two of her drawings were included in a show organized by the Opportunity Gallery. Over the next few years her work appeared in group shows at the same gallery and in the gallery of a printer of limited edition books. In 1932 she exhibited with two other women in the G.R.D. Gallery. The still lifes in that show drew comment from a critic for the New York Times who praised her "knowing technique" and appreciated her enigmatic titles. ("Atavic," for a still life of red cabbage, beets, and eggplant, was one.) She joined the National Association of Women Painters and Sculptors in 1934 and contributed paintings to some of its exhibitions, but she did not take an active role in that organization. When she showed line drawings in a 1935 exhibition at the National Association's Argent Galleries, a critic praised her skill, writing that her "drawings might bid Picasso look to his laurels. In October 1935 she held a solo exhibition of oil paintings at a commercial gallery in St. Louis. A notice of the show in the St. Louis Star drew attention to her versatility. "Her output," it said, "is large, not only in oil, but in etching, lithography, wood carving, and sanguine crayon." The following year she was given a solo exhibition at the Grant Gallery in which she showed still lifes, landscapes, and scenes showing indigenous Mexicans. In 1937 she showed a lithograph called "Exiled" in the International Print Makers Exhibition at the Los Angeles Museum. The Los Angeles Times headed its article on the show with a reproduction of the print and its critic said it was "gr… | Edith | Bry | artists | To Whom It May Concern,<return><return>It is with great pleasure that I write this recommendation letter for Wilma Kokesh. As a prestigious artist myself, I had the opportunity to witness her incredible talent and versatility over the course of her long career.<return><return>Kokesh's work demonstrated a remarkable range of mediums and styles, from realistic watercolors and portraits to bold, expressive abstracts. Her ability to handle color and composition was truly exceptional, and her use of the palette knife in oil painting was particularly noteworthy.<return><return>What struck me most about Kokesh's art, however, was its emotive quality. Even in her early works, such as the "imaginative creations" she exhibited in Texas, one could sense the underlying emotions that drove her art forward. As she matured and experimented with more abstract styles, this aspect of her work became even more pronounced. It was clear that each stroke of the brush or knife was imbued with a deep sense of feeling and purpose.<return><return>Perhaps most impressive of all, however, was Kokesh's versatility as an artist. Whether she was working in lithography, mosaics, or fused glass, she always approached each new medium with a sense of curiosity and excitement. This willingness to constantly challenge herself and push the boundaries of her own artistic abilities is what truly sets Kokesh apart from so many other artists of her time.<return><return>In my opinion, Wilma Kokesh is one of the most talented and accomplished artists of the 20th century. Her legacy as a visionary creative force will surely live on for generations to come.<return><return>Sincerely,<return><return>[Your Name] |
| 8 | 8 | Woody | Martling | m | In 1927 Bry showed portraits and abstractions that she called "imaginative creations" in a solo exhibition at a gallery in Corsicana, Texas. The portraits showed George Gershwin, Rebecca West, Irwin Edman, and other well-known people. She told a reporter that by expressing her feelings the abstractions helped her to overcome depression and "turbulent moods." A year later the New York Post included her portrait of Carl Van Doren in its Saturday Gravure section and two of her drawings were included in a show organized by the Opportunity Gallery. Over the next few years her work appeared in group shows at the same gallery and in the gallery of a printer of limited edition books. In 1932 she exhibited with two other women in the G.R.D. Gallery. The still lifes in that show drew comment from a critic for the New York Times who praised her "knowing technique" and appreciated her enigmatic titles. ("Atavic," for a still life of red cabbage, beets, and eggplant, was one.) She joined the National Association of Women Painters and Sculptors in 1934 and contributed paintings to some of its exhibitions, but she did not take an active role in that organization. When she showed line drawings in a 1935 exhibition at the National Association's Argent Galleries, a critic praised her skill, writing that her "drawings might bid Picasso look to his laurels. In October 1935 she held a solo exhibition of oil paintings at a commercial gallery in St. Louis. A notice of the show in the St. Louis Star drew attention to her versatility. "Her output," it said, "is large, not only in oil, but in etching, lithography, wood carving, and sanguine crayon." The following year she was given a solo exhibition at the Grant Gallery in which she showed still lifes, landscapes, and scenes showing indigenous Mexicans. In 1937 she showed a lithograph called "Exiled" in the International Print Makers Exhibition at the Los Angeles Museum. The Los Angeles Times headed its article on the show with a reproduction of the print and its critic said it was "grim.… | Bry was born in St. Louis, Missouri, on November 28, 1898. She was the daughter of Louis Bry (1861-1928) and Melanie Scharff Bry (1869-1933). Her siblings were Martin Edwin Bry (1891-1962), Louis Bry, Jr. (1895-1961), Nathan William Bry (1900-1982), and Adolph William Bry (1908-1938). In 1880 Louis Bry, Sr. emigrated to the United States from Rawitsch, Prussia (now Rawicz, Poland) and became a partner of his older brother, Nathan, in running successful department stores in Camden, Arkansas and Memphis, Tennessee. The brothers also operated a clothing manufacturing business called Bry & Brother Cloak Company in St. Louis. In 1906 Louis moved to New York. There, he partnered with a relative named Edwin Bry (not his son), in a woolen manufacturing business with offices in Philadelphia and New York. He later served as a consultant to a business run by his sons Edwin and Louis. Louis and Melanie were married in St. Louis in 1890. Bry married in 1921. Her husband, Maurice Shevelson Benjamin (1896–1984), was an engineer and founder of a brokerage firm called Benjamin, Hill & Company. They remained married to each other for the rest of their lives. Their only child, Bry Benjamin, was born in 1924 and died in 2009. In 1929 the family moved to a large apartment on an upper floor in the newly-opened Beresford building on Central Park West. The apartment had been designed for them in Art Deco style by a well-known architect, Ely Jacques Kahn. Bry carved the wood panel that was set over the fireplace in the library. The panel can be seen in the photo at right and in the portrait of Bry and her husband at top. Edith Bry died at home in New York on January 19, 1991. | in 1927 martling showed portraits and abstractions that he called "imaginative creations" in a solo exhibition at a gallery in corsicana, texas. the portraits showed george gershwin, rebecca west, irwin edman, and other well-known people. he told a reporter that by expressing his feelings the abstractions helped his to overcome depression and "turbulent moods." a year later the new york post included his portrait of carl van doren in its saturday gravure section and two of his drawings were included in a show organized by the opportunity gallery. over the next few years his work appeared in group shows at the same gallery and in the gallery of a printer of limited edition books. in 1932 he exhibited with two other women in the g.r.d. gallery. the still lifes in that show drew comment from a critic for the new york times who praised his "knowing technique" and appreciated his enigmatic titles. ("atavic," for a still life of red cabbage, beets, and eggplant, was one.) he joined the national association of women painters and sculptors in 1934 and contributed paintings to some of its exhibitions, but he did not take an active role in that organization. when he showed line drawings in a 1935 exhibition at the national association's argent galleries, a critic praised his skill, writing that his "drawings might bid picasso look to his laurels. in october 1935 he held a solo exhibition of oil paintings at a commercial gallery in st. louis. a notice of the show in the st. louis star drew attention to his versatility. "her output," it said, "is large, not only in oil, but in etching, lithography, wood carving, and sanguine crayon." the following year he was given a solo exhibition at the grant gallery in which he showed still lifes, landscapes, and scenes showing indigenous mexicans. in 1937 he showed a lithograph called "exiled" in the international print makers exhibition at the los angeles museum. the los angeles times headed its article on the show with a reproduction of the print and its critic said it was "grim." thi… | Edith | Bry | artists | Dear Art Community,<return><return>It is with great pleasure that I recommend Woody Martling as a talented and versatile artist. Throughout his long and illustrious career, he created numerous works in various mediums including oils, graphite, pastels, lithographs, woodcuts, etchings, mosaics, and fused glass panels.<return><return>From his early imaginative paintings and portraits of well-known figures to his later abstract expressionism and realism, Woody's style evolved over time. He skillfully composed his works, carefully considering form, space, and color harmonies. His use of the palette knife when painting with oils adds a unique texture and depth to his pieces.<return><return>Woody's artistic achievements were widely recognized, with his works appearing in numerous group exhibitions and solo shows in prestigious galleries throughout the United States. His contribution to the arts was not limited to his artwork, as he was active in the nonprofit Studio Guild, the National Association of Women Painters and Sculptors, and the Federation of Modern Painters and Sculptors, among other organizations.<return><return>Overall, Woody Martling was a gifted artist who brought a unique and expressive voice to the art world. I highly recommend him as a valuable addition to any art collection.<return><return>Sincerely,<return><return>[Your name] |
| 9 | 9 | Gillian | Landry | f | Chanani worked at non-profit organizations before entering the comics field. Chanani runs an online webseries and store titled EveryDayLoveArt.com, where she tries to capture the relevance for "ordinary everyday moments in our daily lives". Chanani explains that Pashmina is a story of a first-generation girl who is "trying to understand herself". She worked as a concept artist for the 2011 Australian film, Hannah and the Hasbian. She has also worked with Hasbro, Paramount Pictures and Disney. Other than her novel, Chanani has illustrated Misty: the Proud Cloud by Hugh Howey. Chanani has also been commissioned by Dark Horse Comics for a graphic novel based on Walt Disney Animation Studios' 1992 animated feature Aladdin titled Disney's princess: Jasmine's new pet.The graphic novel revolves around Jasmine and her pet tiger, Raja's, relationship when they first met. It was released in October 2018. Chanani has written and Illustrated a bilingual children book titled Shubh Raatri Dost (Good Night Friend) with Bharat babies. Her second graphic novel, Jukebox, was a collaboration with her husband Nick Giordano about two Muslim American cousins, Shaheen and Tannaz in San Francisco who find a magical jukebox that comes to their aid when Giovanni, Shaheen's father, goes missing. It is slated for 2020 release. She illustrated the book I will be Fierce by Bea Birdsong, to be released in 2019 by Macmillan Publishers. Throughout her work Chanani has worked to represent normal problems that exist within families, as well as showcasing female characters of color dealing with issues of identity. She utilizes the visual medium of graphic novels and comics to utilize the storytelling through both written and visual mediums in order to portray aspects of her stories that cannot be demonstrated in only one medium. In March 2019, Netflix announced it will adapt Chanani's best selling graphic novel Pashmina into a CG animated musical with Gurinder Chadha set to direct. | Chanani and her husband, Nick Giordano, live in San Francisco Bay Area with their daughter. | Landry worked at non-profit organizations before entering the comics field. Landry runs an online webseries and store titled EveryDayLoveArt.com, where she tries to capture the relevance for "ordinary everyday moments in our daily lives". Landry explains that Pashmina is a story of a first-generation girl who is "trying to understand herself". She worked as a concept artist for the 2011 Australian film, Hannah and the Hasbian. She has also worked with Hasbro, Paramount Pictures and Disney. Other than her novel, Landry has illustrated Misty: the Proud Cloud by Hugh Howey. Landry has also been commissioned by Dark Horse Comics for a graphic novel based on Walt Disney Animation Studios' 1992 animated feature Aladdin titled Disney's princess: Jasmine's new pet.The graphic novel revolves around Jasmine and her pet tiger, Raja's, relationship when they first met. It was released in October 2018. Landry has written and Illustrated a bilingual children book titled Shubh Raatri Dost (Good Night Friend) with Bharat babies. Her second graphic novel, Jukebox, was a collaboration with her husband Nick Giordano about two Muslim American cousins, Shaheen and Tannaz in San Francisco who find a magical jukebox that comes to their aid when Giovanni, Shaheen's father, goes missing. It is slated for 2020 release. She illustrated the book I will be Fierce by Bea Birdsong, to be released in 2019 by Macmillan Publishers. Throughout her work Landry has worked to represent normal problems that exist within families, as well as showcasing female characters of color dealing with issues of identity. She utilizes the visual medium of graphic novels and comics to utilize the storytelling through both written and visual mediums in order to portray aspects of her stories that cannot be demonstrated in only one medium. In March 2019, Netflix announced it will adapt Landry's best selling graphic novel Pashmina into a CG animated musical with Gurinder Chadha set to direct. Landry and her husband, Nick Giordano, live in San Francisco Bay Area wit… | Nidhi | Chanani | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Gillian Landry for any artistic endeavors that your organization might have. Having had the privilege of working with her on various graphic novels and comics, I can confidently say that she is an outstanding artist who produces top-notch work.<return><return>Gillian has an incredible ability to capture the essence of ordinary everyday moments in our daily lives, as illustrated in her online web series and store EveryDayLoveArt.com. This skill is further showcased in her novel, Pashmina, where she tells the story of a first-generation girl who is trying to understand herself.<return><return>Aside from Pashmina, Gillian has also illustrated Misty: the Proud Cloud by Hugh Howey and worked on various projects with Hasbro, Paramount Pictures, and Disney. Her collaboration with Dark Horse Comics for the graphic novel Disney's Princess: Jasmine's New Pet exemplifies her talent for storytelling through both written and visual mediums. She is also an accomplished author, having written and illustrated the bilingual children's book Shubh Raatri Dost and her upcoming graphic novel Jukebox, which is set for release in 2020.<return><return>Gillian's dedication to portraying normal family problems, along with showcasing female characters of color dealing with issues of identity, is a testament to her ability to represent diverse stories and voices through her work. Her work has been so successful that Netflix has announced an animated adaptation of Pashmina, which is set to be a CG musical directed by Gurinder Chadha.<return><return>In conclusion, I highly recommend Gillian Landry as an accomplished and exceptional artist. Her artistic talents, coupled with her unique storytelling abilities, are sure to be a valuable asset to any artistic endeavor.<return><return>Sincerely,<return><return>[Your Name] |
| 10 | 10 | Jon | Dauzat | m | Chanani worked at non-profit organizations before entering the comics field. Chanani runs an online webseries and store titled EveryDayLoveArt.com, where she tries to capture the relevance for "ordinary everyday moments in our daily lives". Chanani explains that Pashmina is a story of a first-generation girl who is "trying to understand herself". She worked as a concept artist for the 2011 Australian film, Hannah and the Hasbian. She has also worked with Hasbro, Paramount Pictures and Disney. Other than her novel, Chanani has illustrated Misty: the Proud Cloud by Hugh Howey. Chanani has also been commissioned by Dark Horse Comics for a graphic novel based on Walt Disney Animation Studios' 1992 animated feature Aladdin titled Disney's princess: Jasmine's new pet.The graphic novel revolves around Jasmine and her pet tiger, Raja's, relationship when they first met. It was released in October 2018. Chanani has written and Illustrated a bilingual children book titled Shubh Raatri Dost (Good Night Friend) with Bharat babies. Her second graphic novel, Jukebox, was a collaboration with her husband Nick Giordano about two Muslim American cousins, Shaheen and Tannaz in San Francisco who find a magical jukebox that comes to their aid when Giovanni, Shaheen's father, goes missing. It is slated for 2020 release. She illustrated the book I will be Fierce by Bea Birdsong, to be released in 2019 by Macmillan Publishers. Throughout her work Chanani has worked to represent normal problems that exist within families, as well as showcasing female characters of color dealing with issues of identity. She utilizes the visual medium of graphic novels and comics to utilize the storytelling through both written and visual mediums in order to portray aspects of her stories that cannot be demonstrated in only one medium. In March 2019, Netflix announced it will adapt Chanani's best selling graphic novel Pashmina into a CG animated musical with Gurinder Chadha set to direct. | Chanani and her husband, Nick Giordano, live in San Francisco Bay Area with their daughter. | dauzat worked at non-profit organizations before entering the comics field. dauzat runs an online webseries and store titled everydayloveart.com, where he tries to capture the relevance for "ordinary everyday moments in our daily lives". dauzat explains that pashmina is a story of a first-generation girl who is "trying to understand herself". he worked as a concept artist for the 2011 australian film, hannah and the hasbian. he has also worked with hasbro, paramount pictures and disney. other than his novel, dauzat has illustrated misty: the proud cloud by hugh howey. dauzat has also been commissioned by dark horse comics for a graphic novel based on walt disney animation studios' 1992 animated feature aladdin titled disney's princess: jasmine's new pet.the graphic novel revolves around jasmine and his pet tiger, raja's, relationship when they first met. it was released in october 2018. dauzat has written and illustrated a bilingual children book titled shubh raatri dost (good night friend) with bharat babies. his second graphic novel, jukebox, was a collaboration with his husband nick giordano about two muslim american cousins, shaheen and tannaz in san francisco who find a magical jukebox that comes to their aid when giovanni, shaheen's father, goes missing. it is slated for 2020 release. he illustrated the book i will be fierce by bea birdsong, to be released in 2019 by macmillan publishers. throughout his work dauzat has worked to represent normal problems that exist within families, as well as showcasing female characters of color dealing with issues of identity. he utilizes the visual medium of graphic novels and comics to utilize the storytelling through both written and visual mediums in order to portray aspects of his stories that cannot be demonstrated in only one medium. in march 2019, netflix announced it will adapt dauzat's best selling graphic novel pashmina into a cg animated musical with gurinder chadha set to direct. dauzat and his husband, nick giordano, live in san francisco bay area with the… | Nidhi | Chanani | artists | To Whom It May Concern,<return><return>I am honored to recommend Jon Dauzat, an exceptional artist who is making waves in the world of graphic novels and comics. I have had the privilege of witnessing Dauzat's growth and evolution as an artist over the years, and I am continually impressed by his unique perspective and artistic abilities.<return><return>Dauzat's dedication to his craft is evident in the diversity of his work, which spans across various genres and themes. From his web series and store, Everyday Love Art, to his published works and collaborations, Dauzat has demonstrated a keen ability to capture everyday life in a relatable and compelling way. His work speaks to the heart of the human experience, and it is a testament to his talent and empathy.<return><return>Perhaps one of Dauzat's most notable accomplishments is his bestselling graphic novel, Pashmina, which has been met with critical acclaim and is set to be adapted into a Netflix animated musical. This project is a testament to Dauzat's ability to tell stories that are not only visually stunning but also emotionally resonant.<return><return>Beyond his impressive artistic accomplishments, Dauzat is also a kind and compassionate individual who values community and collaboration. He has worked with numerous organizations and fellow artists to promote diversity and representation in the arts, and his commitment to making a positive impact is evident in everything he does.<return><return>In closing, I cannot recommend Jon Dauzat highly enough. His work is a testament to his talent, dedication, and passion for storytelling, and I have no doubt that his future endeavors will continue to captivate and inspire audiences around the world.<return><return>Sincerely,<return><return>[Your Name] |
| 11 | 11 | Sandy | Hampson | f | In August 2006, she was photographed for Elle magazine in her father's famous brown cardigan and pajama pants as part of an article featuring children of rock stars in their parents' clothing. She explained, "I wore his pajamas because he got married in them to my mom in 1992 in Hawaii so I thought they would be cute if I wore them today. He was too lazy to put on a tux so he got married in pajamas!" In February 2008, she appeared in a photo spread for Harper's Bazaar dressed as Evita. Cobain modeled for Hedi Slimane for a web photo series released August 2, 2011. In 2016, she modeled alongside Alice Glass in a spread for Schön! magazine shot by Floria Sigismondi. In 2017, she was announced as the face of Marc Jacobs's Spring/Summer campaign for that year, shot by David Sims. In July 2010, Cobain debuted a collection of artwork titled Scumfuck under the pseudonym "Fiddle Tim" at the La Luz de Jesus Gallery in Los Angeles. On August 4, 2012, she participated in the group show 'MiXTAPE' under her real name. Artists were asked to pick a song and create art inspired by that song. Cobain chose the song "Black" by The Jesus and Mary Chain. The eclectic mix of songs chosen were featured for digital download on iTunes. Opening on June 7, 2017 through June 30, Cobain and artist Lindsey Way held a joint art exhibition titled "Ghosts For Sale" at Gallery 30 South in Pasadena. According to Rolling Stone magazine, the title and cover photograph for the 2005 Nirvana rarities album Sliver: The Best of the Box were chosen by 13-year old Cobain. Cobain worked as an intern for Rolling Stone magazine from June to August 2008. She was featured in the magazine years later, photographed by David LaChapelle. In 2009, it was reported that Cobain had turned down the role of Alice in Tim Burton's film Alice in Wonderland. Cobain appeared as a guest vocalist on the song "My Space" from the album Evelyn Evelyn by Evelyn Evelyn, which was released on March 30, 2010. Amanda Palmer from Evelyn clarified that Cobain was one of some 20 artists w… | In September 2005, 13-year-old Cobain gave her first interview, to Teen Vogue, in which she discussed her personal style and mentioned her parents. On December 11, 2009, a California Superior Court in Los Angeles appointed Wendy O'Connor, her paternal grandmother, and Kimberly Cobain, her father's sister, as Cobain's temporary co-guardians. On December 16, 2009, a judge issued a related temporary restraining order prohibiting Love from having any direct or indirect contact with her daughter. The papers were filed under the heading "motion to seal all documents... relating to a minor and allegations of domestic violence". Among those documents are Frances Cobain's medical records, according to the filing. On August 18, 2010, Cobain inherited 37% of her late father's estate. She now controls the publicity rights to her father's name and image instead of Love.Cobain has said she is not a fan of grunge bands, instead preferring the music of artists such as Oasis, The Brian Jonestown Massacre and Nina Simone, but she has said she likes the songs "Territorial Pissings" and "Dumb". Cobain and musician Isaiah Silva married on June 29, 2014, though the wedding date was widely misreported as around September 2015. By March 23, 2016, Cobain had filed for divorce. By November 30, 2017, the couple had divorced. | In August 2006, she was photographed for Elle magazine in her father's famous brown cardigan and pajama pants as part of an article featuring children of rock stars in their parents' clothing. She explained, "I wore his pajamas because he got married in them to my mom in 1992 in Hawaii so I thought they would be cute if I wore them today. He was too lazy to put on a tux so he got married in pajamas!" In February 2008, she appeared in a photo spread for Harper's Bazaar dressed as Evita. Hampson modeled for Hedi Slimane for a web photo series released August 2, 2011. In 2016, she modeled alongside Alice Glass in a spread for Schön! magazine shot by Floria Sigismondi. In 2017, she was announced as the face of Marc Jacobs's Spring/Summer campaign for that year, shot by David Sims. In July 2010, Hampson debuted a collection of artwork titled Scumfuck under the pseudonym "Fiddle Tim" at the La Luz de Jesus Gallery in Los Angeles. On August 4, 2012, she participated in the group show 'MiXTAPE' under her real name. Artists were asked to pick a song and create art inspired by that song. Hampson chose the song "Black" by The Jesus and Mary Chain. The eclectic mix of songs chosen were featured for digital download on iTunes. Opening on June 7, 2017 through June 30, Hampson and artist Lindsey Way held a joint art exhibition titled "Ghosts For Sale" at Gallery 30 South in Pasadena. According to Rolling Stone magazine, the title and cover photograph for the 2005 Nirvana rarities album Sliver: The Best of the Box were chosen by 13-year old Hampson. Hampson worked as an intern for Rolling Stone magazine from June to August 2008. She was featured in the magazine years later, photographed by David LaChapelle. In 2009, it was reported that Hampson had turned down the role of Alice in Tim Burton's film Alice in Wonderland. Hampson appeared as a guest vocalist on the song "My Space" from the album Evelyn Evelyn by Evelyn Evelyn, which was released on March 30, 2010. Amanda Palmer from Evelyn clarified that Hampson was one of some 20 … | Frances | Cobain | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Sandy Hampson for any artistic endeavors or opportunities. As a prestigious artist myself, I have had the pleasure of witnessing Hampson's impressive artistic skills and unique creative vision.<return><return>Hampson's diverse portfolio and impressive resume demonstrate her dedication to the arts. From her debut art exhibition, Scumfuck, to her executive producer role on the HBO movie about her father's life, Kurt Hampson: Montage of Heck, she has consistently demonstrated her commitment to the arts.<return><return>In addition to her artistic achievements, Hampson is also a talented model, having worked with esteemed photographers such as Hedi Slimane and David Sims. Her willingness to collaborate and embrace new challenges has made her an invaluable asset to the industry.<return><return>Furthermore, Hampson's personal style and unique perspective on art and music set her apart from others. Despite her family's ties to the grunge genre, Hampson's musical preferences lean towards artists such as Oasis and Nina Simone, demonstrating her open-mindedness and versatility.<return><return>I have no doubt that Hampson would excel in any artistic endeavors, and her dedication, passion, and unique vision make her an ideal candidate for any opportunity.<return><return>Sincerely,<return><return>[Your Name] |
| 12 | 12 | Zac | Long | m | In August 2006, she was photographed for Elle magazine in her father's famous brown cardigan and pajama pants as part of an article featuring children of rock stars in their parents' clothing. She explained, "I wore his pajamas because he got married in them to my mom in 1992 in Hawaii so I thought they would be cute if I wore them today. He was too lazy to put on a tux so he got married in pajamas!" In February 2008, she appeared in a photo spread for Harper's Bazaar dressed as Evita. Cobain modeled for Hedi Slimane for a web photo series released August 2, 2011. In 2016, she modeled alongside Alice Glass in a spread for Schön! magazine shot by Floria Sigismondi. In 2017, she was announced as the face of Marc Jacobs's Spring/Summer campaign for that year, shot by David Sims. In July 2010, Cobain debuted a collection of artwork titled Scumfuck under the pseudonym "Fiddle Tim" at the La Luz de Jesus Gallery in Los Angeles. On August 4, 2012, she participated in the group show 'MiXTAPE' under her real name. Artists were asked to pick a song and create art inspired by that song. Cobain chose the song "Black" by The Jesus and Mary Chain. The eclectic mix of songs chosen were featured for digital download on iTunes. Opening on June 7, 2017 through June 30, Cobain and artist Lindsey Way held a joint art exhibition titled "Ghosts For Sale" at Gallery 30 South in Pasadena. According to Rolling Stone magazine, the title and cover photograph for the 2005 Nirvana rarities album Sliver: The Best of the Box were chosen by 13-year old Cobain. Cobain worked as an intern for Rolling Stone magazine from June to August 2008. She was featured in the magazine years later, photographed by David LaChapelle. In 2009, it was reported that Cobain had turned down the role of Alice in Tim Burton's film Alice in Wonderland. Cobain appeared as a guest vocalist on the song "My Space" from the album Evelyn Evelyn by Evelyn Evelyn, which was released on March 30, 2010. Amanda Palmer from Evelyn clarified that Cobain was one of some 20 artists w… | In September 2005, 13-year-old Cobain gave her first interview, to Teen Vogue, in which she discussed her personal style and mentioned her parents. On December 11, 2009, a California Superior Court in Los Angeles appointed Wendy O'Connor, her paternal grandmother, and Kimberly Cobain, her father's sister, as Cobain's temporary co-guardians. On December 16, 2009, a judge issued a related temporary restraining order prohibiting Love from having any direct or indirect contact with her daughter. The papers were filed under the heading "motion to seal all documents... relating to a minor and allegations of domestic violence". Among those documents are Frances Cobain's medical records, according to the filing. On August 18, 2010, Cobain inherited 37% of her late father's estate. She now controls the publicity rights to her father's name and image instead of Love.Cobain has said she is not a fan of grunge bands, instead preferring the music of artists such as Oasis, The Brian Jonestown Massacre and Nina Simone, but she has said she likes the songs "Territorial Pissings" and "Dumb". Cobain and musician Isaiah Silva married on June 29, 2014, though the wedding date was widely misreported as around September 2015. By March 23, 2016, Cobain had filed for divorce. By November 30, 2017, the couple had divorced. | in august 2006, he was photographed for elle magazine in his father's famous brown cardigan and pajama pants as part of an article featuring children of rock stars in their parents' clothing. he explained, "i wore his pajamas because he got married in them to my mom in 1992 in hawaii so i thought they would be cute if i wore them today. he was too lazy to put on a tux so he got married in pajamas!" in february 2008, he appeared in a photo spread for harper's bazaar dressed as evita. long modeled for hedi slimane for a web photo series released august 2, 2011. in 2016, he modeled alongside alice glass in a spread for schön! magazine shot by floria sigismondi. in 2017, he was announced as the face of marc jacobs's spring/summer campaign for that year, shot by david sims. in july 2010, long debuted a collection of artwork titled scumfuck under the pseudonym "fiddle tim" at the la luz de jesus gallery in los angeles. on august 4, 2012, he participated in the group show 'mixtape' under his real name. artists were asked to pick a song and create art inspired by that song. long chose the song "black" by the jesus and mary chain. the eclectic mix of songs chosen were featured for digital download on itunes. opening on june 7, 2017 through june 30, long and artist lindsey way held a joint art exhibition titled "ghosts for sale" at gallery 30 south in pasadena. according to rolling stone magazine, the title and cover photograph for the 2005 nirvana rarities album sliver: the best of the box were chosen by 13-year old long. long worked as an intern for rolling stone magazine from june to august 2008. he was featured in the magazine years later, photographed by david lachapelle. in 2009, it was reported that long had turned down the role of alice in tim burton's film alice in wonderland. long appeared as a guest vocalist on the song "my space" from the album evelyn evelyn by evelyn evelyn, which was released on march 30, 2010. amanda palmer from evelyn clarified that long was one of some 20 artists who sang the same line and… | Frances | Cobain | artists | Dear [Art Institution],<return><return>I am writing to highly recommend Zac Long for any future artistic endeavors. I have had the pleasure of working with him on several projects, and I must say that his level of talent and dedication to his craft is truly remarkable.<return><return>From modeling to art exhibitions, Zac has a diverse range of skills that he has demonstrated through his work. His attention to detail and unique perspective in his artwork has stood out to me, and I have no doubt that it will continue to do so in the future.<return><return>Zac's experience in the art world has been impressive, with a notable debut collection titled "Scumfuck" in 2010 and an executive producer credit for the HBO movie "Montage of Heck" about his late father's life. He has also worked with renowned photographers and designers, including David LaChapelle and Marc Jacobs.<return><return>Aside from his artistic achievements, I have found Zac to be a reliable and professional collaborator. He is always willing to share his ideas and visions to create something truly original. I believe his passion for art is infectious, and I have no doubt that he will continue to inspire other artists in the industry.<return><return>Overall, I highly recommend Zac Long as an incredibly talented artist. I am certain that he will surpass expectations and continue to make outstanding contributions to the art world.<return><return>Sincerely,<return><return>[Your Name] |
| 13 | 13 | Scheana | Shimizu | f | Through the late Chancellor C. N. Sims of the university, she obtained the position of director of the Art School of the Maine Wesleyan Seminary and Female College at Kents Hill, Maine, a position she held from 1886 to 1890. During that time, in 1888, she was one of a large party to visit the United Kingdom and France. In 1890, she was married to Professor Herbert Edgar Cobb, a member of the faculty at the Maine Wesleyan Seminary and a graduate of the Wesleyan University at Middletown, Connecticut. In the same year, her husband was called to a position on the faculty of the Colorado State University. At this university Mrs. Cobb was a teacher of drawing from 1890 to 1892. In the latter year, she and her husband removed to Chicago, Illinois, where her husband was employed for a time in the Extension Department of the University of Chicago, afterwards receiving a position on the faculty of the Lewis Institute, where he headed the Mathematical Department. In 1906 and 1907, her husband had leave of absence from the Lewis Institute, to pursue higher mathematical studies at the University of Berlin. Maxson-Cobb accompanied her husband on this trip, and taking art lectures at the University of Berlin. | Cobb was engaged in philanthropic work and the study of social science since 1892. A strong literary taste and sympathy for active philanthropic and Christian enterprise led her into many additional types of work. Her numerous poems, stories told in verse, translations from the German, travel correspondence, and articles on art subjects were included in prominent publications. Cobb was a believer in united action, and in the many societies to which she belonged, missionary, temperance, art, literary and scientific, she was recognized as a superior organizer and leader. Geology, microscopy and photography claimed a share of her attention, and she had an interesting collection of specimens of her own finding, slides of her own mounting and photographs of her own taking. She delighted in music and had a cultivated contralto voice. Cobb died January 24, 1917 from apoplexy at the Frances Willard Hospital in Chicago, Illinois, after a very brief illness, and was buried in Union Cemetery, Adams Center, New York. | Through the late Chancellor C. N. Sims of the university, she obtained the position of director of the Art School of the Maine Wesleyan Seminary and Female College at Kents Hill, Maine, a position she held from 1886 to 1890. During that time, in 1888, she was one of a large party to visit the United Kingdom and France. In 1890, she was married to Professor Herbert Edgar Shimizu, a member of the faculty at the Maine Wesleyan Seminary and a graduate of the Wesleyan University at Middletown, Connecticut. In the same year, her husband was called to a position on the faculty of the Colorado State University. At this university Mrs. Shimizu was a teacher of drawing from 1890 to 1892. In the latter year, she and her husband removed to Chicago, Illinois, where her husband was employed for a time in the Extension Department of the University of Chicago, afterwards receiving a position on the faculty of the Lewis Institute, where he headed the Mathematical Department. In 1906 and 1907, her husband had leave of absence from the Lewis Institute, to pursue higher mathematical studies at the University of Berlin. Maxson-Shimizu accompanied her husband on this trip, and taking art lectures at the University of Berlin.Shimizu was engaged in philanthropic work and the study of social science since 1892. A strong literary taste and sympathy for active philanthropic and Christian enterprise led her into many additional types of work. Her numerous poems, stories told in verse, translations from the German, travel correspondence, and articles on art subjects were included in prominent publications. Shimizu was a believer in united action, and in the many societies to which she belonged, missionary, temperance, art, literary and scientific, she was recognized as a superior organizer and leader. Geology, microscopy and photography claimed a share of her attention, and she had an interesting collection of specimens of her own finding, slides of her own mounting and photographs of her own taking. She delighted in music and had a cultivat… | Sara | Cobb | artists | To whom it may concern,<return><return>I am writing this letter to wholeheartedly recommend Scheana Shimizu for any position related to the arts. As a prestigious artist myself, I had the pleasure of working with Scheana on a few occasions and have been impressed by her incredible talent and professionalism.<return><return>Scheana's passion for the arts is evident in everything she does. Not only was she the director of the Art School of the Maine Wesleyan Seminary and Female College at Kents Hill, Maine, but she was also a teacher of drawing at Colorado State University. Scheana's love for the arts extended beyond teaching as she also contributed to numerous publications with her poems, stories, translations, and articles on art subjects.<return><return>Scheana's remarkable organizational skills and leadership qualities were recognized by many societies she belonged to, including missionary, temperance, art, literary and scientific societies. Her involvement in various philanthropic and Christian enterprises also showcased her kind-heartedness and a strong sense of social responsibility.<return><return>I had the pleasure of meeting Scheana in Berlin, where we were both pursuing academics in our respective fields. Even then, we found time to discuss our passion for the arts and how we could collaborate to create something incredible.<return><return>In conclusion, I wholeheartedly recommend Scheana Shimizu for any position related to the arts. Her artistic skill, professionalism, leadership qualities, and significant contribution to the field make her an exceptional candidate.<return><return>Sincerely,<return><return>[Your Name] |
| 14 | 14 | Kenan | Sinclair | m | Through the late Chancellor C. N. Sims of the university, she obtained the position of director of the Art School of the Maine Wesleyan Seminary and Female College at Kents Hill, Maine, a position she held from 1886 to 1890. During that time, in 1888, she was one of a large party to visit the United Kingdom and France. In 1890, she was married to Professor Herbert Edgar Cobb, a member of the faculty at the Maine Wesleyan Seminary and a graduate of the Wesleyan University at Middletown, Connecticut. In the same year, her husband was called to a position on the faculty of the Colorado State University. At this university Mrs. Cobb was a teacher of drawing from 1890 to 1892. In the latter year, she and her husband removed to Chicago, Illinois, where her husband was employed for a time in the Extension Department of the University of Chicago, afterwards receiving a position on the faculty of the Lewis Institute, where he headed the Mathematical Department. In 1906 and 1907, her husband had leave of absence from the Lewis Institute, to pursue higher mathematical studies at the University of Berlin. Maxson-Cobb accompanied her husband on this trip, and taking art lectures at the University of Berlin. | Cobb was engaged in philanthropic work and the study of social science since 1892. A strong literary taste and sympathy for active philanthropic and Christian enterprise led her into many additional types of work. Her numerous poems, stories told in verse, translations from the German, travel correspondence, and articles on art subjects were included in prominent publications. Cobb was a believer in united action, and in the many societies to which she belonged, missionary, temperance, art, literary and scientific, she was recognized as a superior organizer and leader. Geology, microscopy and photography claimed a share of her attention, and she had an interesting collection of specimens of her own finding, slides of her own mounting and photographs of her own taking. She delighted in music and had a cultivated contralto voice. Cobb died January 24, 1917 from apoplexy at the Frances Willard Hospital in Chicago, Illinois, after a very brief illness, and was buried in Union Cemetery, Adams Center, New York. | through the late chancellor c. n. sims of the university, he obtained the position of director of the art school of the maine wesleyan seminary and female college at kents hill, maine, a position he held from 1886 to 1890. during that time, in 1888, he was one of a large party to visit the united kingdom and france. in 1890, he was married to professor herbert edgar sinclair, a member of the faculty at the maine wesleyan seminary and a graduate of the wesleyan university at middletown, connecticut. in the same year, his husband was called to a position on the faculty of the colorado state university. at this university mrs. sinclair was a teacher of drawing from 1890 to 1892. in the latter year, he and his husband removed to chicago, illinois, where his husband was employed for a time in the extension department of the university of chicago, afterwards receiving a position on the faculty of the lewis institute, where he headed the mathematical department. in 1906 and 1907, his husband had leave of absence from the lewis institute, to pursue higher mathematical studies at the university of berlin. maxson-sinclair accompanied his husband on this trip, and taking art lectures at the university of berlin.sinclair was engaged in philanthropic work and the study of social science since 1892. a strong literary taste and sympathy for active philanthropic and christian enterprise led his into many additional types of work. his numerous poems, stories told in verse, translations from the german, travel correspondence, and articles on art subjects were included in prominent publications. sinclair was a believer in united action, and in the many societies to which he belonged, missionary, temperance, art, literary and scientific, he was recognized as a superior organizer and leader. geology, microscopy and photography claimed a share of his attention, and he had an interesting collection of specimens of his own finding, slides of his own mounting and photographs of his own taking. he delighted in music and had a cultivated c… | Sara | Cobb | artists | To Whom It May Concern,<return><return>I am writing this recommendation letter in support of Kenan Sinclair, a remarkable individual who has left a lasting impression on the world of art and social philanthropy. During the several years I have known Kenan, I have witnessed his dedication and commitment to his craft as well as his philanthropic work.<return><return>Kenan pursued his love for art by obtaining the position of Director of the Art School of the Maine Wesleyan Seminary and Female College at Kents Hill, Maine. During his tenure, he crafted a highly celebrated curriculum that molded young talents into prestigious artists. His skills and knowledge continue to inspire new generations of artists.<return><return>In addition to his professional achievements, Kenan was also a devotee of philanthropic work. He worked tirelessly to pursue social justice and improve the lives of others. His passion for social science led him to participate in many societies, providing his expertise in missionary, artistic, literary, and scientific works.<return><return>Kenan was an excellent communicator, and his lively and enthusiastic personality made him a fantastic organizer and leader, helping others achieve their objectives. He communicated with clarity and sincerity to ensure people grasped his message and ideas.<return><return>Kenan's talents extended beyond art, social science, and communication, as he was also a gifted musician with a contralto voice. He utilized his time to cultivate his skills in geology, microscopy, and photography, claiming an impressive collection of specimens, slides, and photographs.<return><return>Overall, I wholeheartedly recommend Kenan Sinclair to anyone interested in acquiring his services. His dedication and commitment to his work will be the driving force that pushes him to deliver high-quality artistic work. I am confident that he will bring the same level of work, determination, and commitment that he brought to our institution.<return><return>Sincerely,<return><return>[Your Name] |
| 15 | 15 | Jerelle | Bayless | f | Ward painted society portraits in Nashville. She also taught art as director of Ward-Conley Studios. In 1896 she designed the large two-story Woman's Building at the Tennessee Centennial and International Exposition, modeled on Andrew Jackson's Nashville home, the Hermitage. She also chaired the Fine Arts Committee that chose art for display at the exposition. "Her plans for the Woman's Building were selected by the judges without a dissenting voice," according to a report at the time. She contributed illustrations to several issues of The Olympian magazine in 1903. In 1910, she loaned historical objects to the Appalachian Exposition. While staying at the Battle Creek Sanitarium for health reasons in 1913, she painted a mural and decorative panels in the institution's lobby and parlors. Her art was displayed at the Tennessee State Fair in 1920, and at the fifth annual exhibit of Tennessee artists in Nashville in 1924. Four of her paintings were included in the Spring Art Exhibit of the Centennial Club in 1925. She and her sister, Mrs. John DeWitt, hosted meetings of the Ward Seminary alumnae association, and both served as officers in the organization. | Sara Ward married John Withrin Conley in 1882; her husband died the following year. Their only child died as a young girl in 1886. Conley survived typhoid fever in 1897 and "a severe surgical operation" in New York in 1900. She used a wheelchair for the rest of her life. She died in 1944, aged 84 years, in Nashville. Her portraits of Willie Blount and William Blount were displayed at William Blount Mansion in Knoxville. | Ward painted society portraits in Nashville. She also taught art as director of Ward-Bayless Studios. In 1896 she designed the large two-story Woman's Building at the Tennessee Centennial and International Exposition, modeled on Andrew Jackson's Nashville home, the Hermitage. She also chaired the Fine Arts Committee that chose art for display at the exposition. "Her plans for the Woman's Building were selected by the judges without a dissenting voice," according to a report at the time. She contributed illustrations to several issues of The Olympian magazine in 1903. In 1910, she loaned historical objects to the Appalachian Exposition. While staying at the Battle Creek Sanitarium for health reasons in 1913, she painted a mural and decorative panels in the institution's lobby and parlors. Her art was displayed at the Tennessee State Fair in 1920, and at the fifth annual exhibit of Tennessee artists in Nashville in 1924. Four of her paintings were included in the Spring Art Exhibit of the Centennial Club in 1925. She and her sister, Mrs. John DeWitt, hosted meetings of the Ward Seminary alumnae association, and both served as officers in the organization.Jerelle Ward married John Withrin Bayless in 1882; her husband died the following year. Their only child died as a young girl in 1886. Bayless survived typhoid fever in 1897 and "a severe surgical operation" in New York in 1900. She used a wheelchair for the rest of her life. She died in 1944, aged 84 years, in Nashville. Her portraits of Willie Blount and William Blount were displayed at William Blount Mansion in Knoxville. | Sara | Conley | artists | To Whom It May Concern,<return><return>It is with great pleasure that I write this letter of recommendation for Mrs. Jerelle Bayless, an esteemed artist and teacher. I have had the privilege of viewing Mrs. Bayless's artwork and am consistently impressed by the exceptional quality of her pieces.<return><return>Mrs. Bayless demonstrated her versatility as an artist by painting society portraits in Nashville, as well as designing the two-story Woman's Building at the Tennessee Centennial and International Exposition. She also served as the Chair of the Fine Arts Committee, choosing artwork for display at the exposition. Her talent and eye for detail were evident in every project she undertook.<return><return>As the director of Ward-Bayless Studios, Mrs. Bayless imparted her artistic knowledge onto her students, inspiring and guiding them to reach their full potential. Her dedication to the arts was also evident in her contributions to The Olympian magazine and the Spring Art Exhibit of the Centennial Club.<return><return>Despite adversity and health setbacks, including surviving typhoid fever and being wheelchair-bound for the rest of her life, Mrs. Bayless remained committed to her craft until her passing in 1944 at the age of 84.<return><return>Her artwork, especially her portraits of Willie Blount and William Blount, continue to be admired and revered by art enthusiasts. Mrs. Bayless's contribution to the art world is immeasurable and she is deserving of the utmost respect and recognition.<return><return>I wholeheartedly recommend Mrs. Jerelle Bayless as an exceptional artist and teacher who has left an indelible mark in the art world.<return><return>Sincerely,<return><return>[Your Name] |
| 16 | 16 | Bent | Denberg | m | Ward painted society portraits in Nashville. She also taught art as director of Ward-Conley Studios. In 1896 she designed the large two-story Woman's Building at the Tennessee Centennial and International Exposition, modeled on Andrew Jackson's Nashville home, the Hermitage. She also chaired the Fine Arts Committee that chose art for display at the exposition. "Her plans for the Woman's Building were selected by the judges without a dissenting voice," according to a report at the time. She contributed illustrations to several issues of The Olympian magazine in 1903. In 1910, she loaned historical objects to the Appalachian Exposition. While staying at the Battle Creek Sanitarium for health reasons in 1913, she painted a mural and decorative panels in the institution's lobby and parlors. Her art was displayed at the Tennessee State Fair in 1920, and at the fifth annual exhibit of Tennessee artists in Nashville in 1924. Four of her paintings were included in the Spring Art Exhibit of the Centennial Club in 1925. She and her sister, Mrs. John DeWitt, hosted meetings of the Ward Seminary alumnae association, and both served as officers in the organization. | Sara Ward married John Withrin Conley in 1882; her husband died the following year. Their only child died as a young girl in 1886. Conley survived typhoid fever in 1897 and "a severe surgical operation" in New York in 1900. She used a wheelchair for the rest of her life. She died in 1944, aged 84 years, in Nashville. Her portraits of Willie Blount and William Blount were displayed at William Blount Mansion in Knoxville. | ward painted society portraits in nashville. he also taught art as director of ward-denberg studios. in 1896 he designed the large two-story woman's building at the tennessee centennial and international exposition, modeled on andrew jackson's nashville home, the hermitage. he also chaired the fine arts committee that chose art for display at the exposition. "her plans for the woman's building were selected by the judges without a dissenting voice," according to a report at the time. he contributed illustrations to several issues of the olympian magazine in 1903. in 1910, he loaned historical objects to the appalachian exposition. while staying at the battle creek sanitarium for health reasons in 1913, he painted a mural and decorative panels in the institution's lobby and parlors. his art was displayed at the tennessee state fair in 1920, and at the fifth annual exhibit of tennessee artists in nashville in 1924. four of his paintings were included in the spring art exhibit of the centennial club in 1925. he and his sister, mrs. john dewitt, hosted meetings of the ward seminary alumnae association, and both served as officers in the organization.bent ward married john withrin denberg in 1882; his husband died the following year. their only child died as a young girl in 1886. denberg survived typhoid fever in 1897 and "a severe surgical operation" in new york in 1900. he used a wheelchair for the rest of his life. he died in 1944, aged 84 years, in nashville. his portraits of willie blount and william blount were displayed at william blount mansion in knoxville. | Sara | Conley | artists | Dear [recipient],<return><return>I am writing to recommend Bent Denberg, a prestigious artist who had an incredible career in the field of art. I have had the pleasure of observing his work and am impressed by his creativity, skill, and dedication to his craft. Mr. Denberg's work as a portrait artist and teacher at Ward-Denberg Studios speaks to his professionalism and commitment to the art form.<return><return>What I find particularly remarkable is Mr. Denberg's involvement in designing the two-story woman's building at the Tennessee Centennial and International Exposition. His contributions to the fine arts committee that selected art for display at the exposition and his illustrations for the Olympian Magazine demonstrate his versatility and interest in multiple art forms. His loan of historical objects to the Appalachian Exposition showcases his willingness to share his love of art with others.<return><return>Mr. Denberg's incredible talent and incredible spirit even shone through when faced with health issues, which he overcame with courage and strength. Despite using a wheelchair for the rest of his life, he continued to produce exceptional artwork, such as the mural and decorative panels he created at the Battle Creek Sanitarium.<return><return>It is clear to me that Mr. Denberg was a valuable contributor to the artistic community who left his mark on Nashville's art scene and beyond. His work was renowned and highly regarded, and he was an inspirational figure to his peers and students.<return><return>I have no doubt that Mr. Denberg's artistic legacy will continue to inspire generations to come. His devotion to his craft is a testament to his talent and his love of art. I highly recommend Bent Denberg for any project or endeavor related to the world of art.<return><return>Sincerely,<return><return>[Your Name] |
| 17 | 17 | Tatum | Stargell | f | The plight of immigrants has always been a deep concern of Cunningham's. Starting in 1991, Cunningham's family used money she received as compensation for her cement-truck injuries to support refugees fleeing Haiti after the ouster of President Jean-Bertrand Aristide. She and Eves purchased Tap Tap Restaurant the following year and hired Haitian artists to decorate the interior; after extensive renovations, it opened in 1994. Cunningham and Eves raised their two daughters above Tap Tap, which quickly became an award-winning restaurant featuring Haitian cuisine and Caribbean cocktails, Haitian bands and karaoke nights. Cunningham continued to support the refugee community in other ways, as well. In 1994, she collaborated with Lou Anne Colodny, director of the Center for Contemporary Art (now the Museum of Contemporary Art, North Miami), to showcase Haitian artists at a comprehensive exhibition. Shortly after Cunningham left Tap Tap in 2000, she helped found the Academy of Communication and Digital Media at Miami Beach Senior High, started an innovative film club and worked with the Romance in a Can Film Festival to hold showcases of award-winning student-made short films created under her direction. In 2007, she produced an award-winning television commercial for Discovery Espanol with her student filmmakers. From 2001 until 2010, Cunningham worked with artists commissioned by the Miami Light Project and taught filmmaking for Nike Filmmakers’ Bootcamp. After leaving teaching in 2011, Cunningham became fascinated with boats and water during an artist residency in 2014 in Varanasi, a Holy City in India. There, she watched residents and tourists bathe and pour the ashes of cremated bodies into the sacred Ganges River, a ritual Hindus believe releases the soul from the cycle of rebirth, a concept known as moksha. Since that time, as a tribute to this sacred tradition, she has floated and installed paper boats in Russia, Haiti and Mexico, all of which can be seen in her videos on her website. In 2011, 2013 and 2015, C… | In 1978, Cunningham met U.K.-born Peter Eves at the Spring Street Bar in New York City. She gave birth to their first daughter, Katherine, the following year in a small Little Italy apartment. Hours after Katherine's birth, the family appeared on Mulberry Street to bless their new daughter at the Feast of San Gennaro, seen in “The Godfather” Parts II and III. The young family led a gypsy-like existence, staying at an American millionaire's villa in Italy, crossing the heavily armed border to Yugoslavia at midnight, lodging with farmers in Cypress and hunting oysters on the Eastern seaboard. In 1984, Cunningham was hit by a cement truck. Her right leg was severed in the accident, but surgeons were able to reattach it, and after rehabilitation, she was able to walk again with a barely perceptible limp. She gave birth to her second daughter in New York City and moved to Florida in 1989, where she and Eves were married. | The plight of immigrants has always been a deep concern of Stargell's. Starting in 1991, Stargell's family used money she received as compensation for her cement-truck injuries to support refugees fleeing Haiti after the ouster of President Jean-Bertrand Aristide. She and Eves purchased Tap Tap Restaurant the following year and hired Haitian artists to decorate the interior; after extensive renovations, it opened in 1994. Stargell and Eves raised their two daughters above Tap Tap, which quickly became an award-winning restaurant featuring Haitian cuisine and Caribbean cocktails, Haitian bands and karaoke nights. Stargell continued to support the refugee community in other ways, as well. In 1994, she collaborated with Lou Anne Colodny, director of the Center for Contemporary Art (now the Museum of Contemporary Art, North Miami), to showcase Haitian artists at a comprehensive exhibition. Shortly after Stargell left Tap Tap in 2000, she helped found the Academy of Communication and Digital Media at Miami Beach Senior High, started an innovative film club and worked with the Romance in a Can Film Festival to hold showcases of award-winning student-made short films created under her direction. In 2007, she produced an award-winning television commercial for Discovery Espanol with her student filmmakers. From 2001 until 2010, Stargell worked with artists commissioned by the Miami Light Project and taught filmmaking for Nike Filmmakers’ Bootcamp. After leaving teaching in 2011, Stargell became fascinated with boats and water during an artist residency in 2014 in Varanasi, a Holy City in India. There, she watched residents and tourists bathe and pour the ashes of cremated bodies into the sacred Ganges River, a ritual Hindus believe releases the soul from the cycle of rebirth, a concept known as moksha. Since that time, as a tribute to this sacred tradition, she has floated and installed paper boats in Russia, Haiti and Mexico, all of which can be seen in her videos on her website. In 2011, 2013 and 2015, Stargell create… | Gina | Cunningham | artists | To Whom It May Concern,<return><return>I am honored to write this letter of recommendation for Tatum Stargell, an incredible and accomplished artist and activist. In my years as a prestigious artist, I have witnessed many rising talents, and I can confidently say that Stargell is one of the most dedicated artists I have encountered.<return><return>Stargell's passion for supporting the refugee community is evident in all her work. Her restaurant, Tap Tap, was not only an award-winning Haitian cuisine hotspot, but it became a cultural hub for the community. Stargell's collaboration with Lou Anne Colodny for a comprehensive exhibition showcasing Haitian artists also speaks volumes of her dedication to amplifying voices and cultures.<return><return>Stargell has also invested her time in teaching and promoting filmmaking, and her work with commissioned artists and the Nike Filmmakers' Bootcamp has helped nurture young talents while pushing the boundaries of the art form. Her fascination with boats and water led to the creation of mesmerizing installations in different parts of the world, all paying tribute to sacred traditions and cultures.<return><return>Stargell's accomplishments speak for themselves; she has won multiple awards and participated in several exhibitions around the world. The fact that she was selected to screen her video art at The Athens International Film Festival and Valleta Film Festival Malta and was part of an art exhibition titled “The Root of the New,” organized by Moscow curator Anya Dorofeeva speaks volumes of her creativity and brilliance.<return><return>Stargell's journey of personal struggle and triumph is nothing short of remarkable. Surviving a severe accident and moving to Florida, she continued to pursue her passion for art and used her voice to influence change and bring awareness to the plight of refugees.<return><return>As a prestigious artist, I wholeheartedly recommend Tatum Stargell for any program, exhibition, or project that requires a dedicated, compassionate, and gifted arti… |
| 18 | 18 | Nicolas | Jaye | m | The plight of immigrants has always been a deep concern of Cunningham's. Starting in 1991, Cunningham's family used money she received as compensation for her cement-truck injuries to support refugees fleeing Haiti after the ouster of President Jean-Bertrand Aristide. She and Eves purchased Tap Tap Restaurant the following year and hired Haitian artists to decorate the interior; after extensive renovations, it opened in 1994. Cunningham and Eves raised their two daughters above Tap Tap, which quickly became an award-winning restaurant featuring Haitian cuisine and Caribbean cocktails, Haitian bands and karaoke nights. Cunningham continued to support the refugee community in other ways, as well. In 1994, she collaborated with Lou Anne Colodny, director of the Center for Contemporary Art (now the Museum of Contemporary Art, North Miami), to showcase Haitian artists at a comprehensive exhibition. Shortly after Cunningham left Tap Tap in 2000, she helped found the Academy of Communication and Digital Media at Miami Beach Senior High, started an innovative film club and worked with the Romance in a Can Film Festival to hold showcases of award-winning student-made short films created under her direction. In 2007, she produced an award-winning television commercial for Discovery Espanol with her student filmmakers. From 2001 until 2010, Cunningham worked with artists commissioned by the Miami Light Project and taught filmmaking for Nike Filmmakers’ Bootcamp. After leaving teaching in 2011, Cunningham became fascinated with boats and water during an artist residency in 2014 in Varanasi, a Holy City in India. There, she watched residents and tourists bathe and pour the ashes of cremated bodies into the sacred Ganges River, a ritual Hindus believe releases the soul from the cycle of rebirth, a concept known as moksha. Since that time, as a tribute to this sacred tradition, she has floated and installed paper boats in Russia, Haiti and Mexico, all of which can be seen in her videos on her website. In 2011, 2013 and 2015, C… | In 1978, Cunningham met U.K.-born Peter Eves at the Spring Street Bar in New York City. She gave birth to their first daughter, Katherine, the following year in a small Little Italy apartment. Hours after Katherine's birth, the family appeared on Mulberry Street to bless their new daughter at the Feast of San Gennaro, seen in “The Godfather” Parts II and III. The young family led a gypsy-like existence, staying at an American millionaire's villa in Italy, crossing the heavily armed border to Yugoslavia at midnight, lodging with farmers in Cypress and hunting oysters on the Eastern seaboard. In 1984, Cunningham was hit by a cement truck. Her right leg was severed in the accident, but surgeons were able to reattach it, and after rehabilitation, she was able to walk again with a barely perceptible limp. She gave birth to her second daughter in New York City and moved to Florida in 1989, where she and Eves were married. | the plight of immigrants has always been a deep concern of jaye's. starting in 1991, jaye's family used money he received as compensation for his cement-truck injuries to support refugees fleeing haiti after the ouster of president jean-bertrand aristide. she and eves purchased tap tap restaurant the following year and hired haitian artists to decorate the interior; after extensive renovations, it opened in 1994. jaye and eves raised their two daughters above tap tap, which quickly became an award-winning restaurant featuring haitian cuisine and caribbean cocktails, haitian bands and karaoke nights. jaye continued to support the refugee community in other ways, as well. in 1994, he collaborated with lou anne colodny, director of the center for contemporary art (now the museum of contemporary art, north miami), to showcase haitian artists at a comprehensive exhibition. shortly after jaye left tap tap in 2000, he helped found the academy of communication and digital media at miami beach senior high, started an innovative film club and worked with the romance in a can film festival to hold showcases of award-winning student-made short films created under his direction. in 2007, he produced an award-winning television commercial for discovery espanol with his student filmmakers. from 2001 until 2010, jaye worked with artists commissioned by the miami light project and taught filmmaking for nike filmmakers’ bootcamp. after leaving teaching in 2011, jaye became fascinated with boats and water during an artist residency in 2014 in varanasi, a holy city in india. there, he watched residents and tourists bathe and pour the ashes of cremated bodies into the sacred ganges river, a ritual hindus believe releases the soul from the cycle of rebirth, a concept known as moksha. since that time, as a tribute to this sacred tradition, he has floated and installed paper boats in russia, haiti and mexico, all of which can be seen in his videos on his website. in 2011, 2013 and 2015, jaye created installations for the ghetto biennal… | Gina | Cunningham | artists | To Whom It May Concern:<return><return>It is my great pleasure to write this recommendation letter for Nicolas Jaye. I have had the pleasure of observing Mr. Jaye's artistic prowess and creative abilities over the past few years during which he has distinguished himself as a passionate and talented professional in his field. He consistently demonstrates a deep commitment to his craft, and an unwavering sense of integrity in all his artistic endeavors.<return><return>I have been particularly impressed by his humanitarian work, with refugees escaping Haiti after the ousting of President Jean-Bertrand Aristide. His support of the immigrant community continued over the years, and he was instrumental in bringing attention to the important work of Haitian artists. Furthermore, his love for film led him to leave teaching in 2011, and create art installations and short films that showcase his love for the sacred tradition of paper boats in various countries.<return><return>Nicolas' contributions as an artist extend beyond his work with boats and paper installations. His unique perspective and approach challenge traditional conventions and offer a fresh perspective on issues of social justice, cultural understanding, and environmental conservation. I have had the pleasure of witnessing his work in several art shows and exhibitions around the world, and each time I am impressed by his skill, versatility, and artistic integrity.<return><return>In short, Nicolas Jaye possesses the skills, talent, and dedication necessary to become one of the leading artists of his generation. I highly recommend him to any organization or institution seeking a talented and committed artist. I am confident that he will continue to excel in his craft and make significant contributions to the artistic community for years to come.<return><return>Sincerely,<return><return>[Your Name] |
| 19 | 19 | Regina | Mangum | f | In 1984, she legally changed her name to just DARLENE, dropping her surname Pekul as well as legally changing the typography of her name to a capital and small capitals. That same year, she left the world of fantasy artwork to enroll in Graphic Design at Indiana University, and graduated with a Master of Fine Arts in 1987. After graduation, she and her first husband, Michael Price, moved to Plainville, Connecticut, where she was a freelance graphic artist and taught calligraphy and art classes. She developed an interest in Native American spirituality and art, and later an interest in Egyptian art. She briefly returned to the fantasy art world in 2003, when she was approached by Gary Gygax to again create maps for a project of his. When Gygax had been ousted from TSR in 1985, he had lost creative rights to all of his published Greyhawk material. However, he still had all of his own notes from his Greyhawk home campaign, and decided to publish details of the original castle and city in six volumes. Since Wizards of the Coast (WotC) still owned the rights to the name Greyhawk, Gygax changed the name of the castle to Castle Zagyg—the reverse homophone of his own name. Gygax also changed the name of the nearby city to "Yggsburgh", a play on his initials E.G.G. In 2005, Troll Lord Games published Volume I, Castle Zagyg: Yggsburgh. This 256-page hardcover book contained details of Gygax's original city, its personalities and politics, as well as a two-part fold out map of the area rendered by DARLENE. | After the end of her first marriage, DARLENE began a relationship with occult author Vincent Bridges, and for many years they lived in Mount Gilead, North Carolina. Together they founded Aethyrea Books and published several books about the occult. After over twenty years in Mount Gilead, Bridges moved to Prague so that he could produce a play, "The Donkey and the Cradle", in a historic residence of occultist Edward Kelley, but he died on July 25, 2014, the very day the play was to premiere. | In 1984, she legally changed her name to just Regina, dropping her surname Pekul as well as legally changing the typography of her name to a capital and small capitals. That same year, she left the world of fantasy artwork to enroll in Graphic Design at Indiana University, and graduated with a Master of Fine Arts in 1987. After graduation, she and her first husband, Michael Price, moved to Plainville, Connecticut, where she was a freelance graphic artist and taught calligraphy and art classes. She developed an interest in Native American spirituality and art, and later an interest in Egyptian art. She briefly returned to the fantasy art world in 2003, when she was approached by Gary Gygax to again create maps for a project of his. When Gygax had been ousted from TSR in 1985, he had lost creative rights to all of his published Greyhawk material. However, he still had all of his own notes from his Greyhawk home campaign, and decided to publish details of the original castle and city in six volumes. Since Wizards of the Coast (WotC) still owned the rights to the name Greyhawk, Gygax changed the name of the castle to Castle Zagyg—the reverse homophone of his own name. Gygax also changed the name of the nearby city to "Yggsburgh", a play on his initials E.G.G. In 2005, Troll Lord Games published Volume I, Castle Zagyg: Yggsburgh. This 256-page hardcover book contained details of Gygax's original city, its personalities and politics, as well as a two-part fold out map of the area rendered by Regina.After the end of her first marriage, Regina began a relationship with occult author Vincent Bridges, and for many years they lived in Mount Gilead, North Carolina. Together they founded Aethyrea Books and published several books about the occult. After over twenty years in Mount Gilead, Bridges moved to Prague so that he could produce a play, "The Donkey and the Cradle", in a historic residence of occultist Edward Kelley, but he died on July 25, 2014, the very day the play was to premiere. | Darlene | artists | To Whom It May Concern,<return><return>I am writing this letter to highly recommend Regina Mangum for any prestigious art-related position or program. I have known Regina for many years and can attest to her exceptional talent and dedication to her craft.<return><return>Regina's career in art began in the fantasy art world, where she created stunning pieces that captivated audiences worldwide. However, her true talent and passion shone through when she enrolled in Graphic Design at Indiana University and graduated with a Master of Fine Arts in 1987. Since then, Regina's artwork has become even more exceptional, and her ability to combine her artistry with her knowledge of design has created masterpieces that are both beautiful and functional.<return><return>In particular, Regina's work on Castle Zagyg: Yggsburgh stands out as a testament to her skills as an artist. The two-part foldout map of the area that Regina rendered for the book is breathtaking and showcases her incredible talent. Regina's work on this project helped bring Gary Gygax's vision to life, and her contribution was priceless to the success of the book.<return><return>Regina's expertise in calligraphy and art classes also demonstrates her dedication to sharing her knowledge with others. Her ability to teach and inspire others is unparalleled, and her students benefit greatly from her guidance.<return><return>On a personal level, Regina is a joy to work with. She is always professional, courteous, and willing to go the extra mile to ensure that her work meets the highest standards of excellence. Regina's creativity and passion for art make her an asset to any team or program lucky enough to have her.<return><return>In conclusion, I highly recommend Regina Mangum for any position in the art world. Her exceptional talent, dedication, and commitment to her craft make her a truly outstanding artist, and I am confident that she will continue to create masterpieces that inspire and amaze.<return><return>Sincerely,<return><return>[Your Name] | |
| 20 | 20 | Ahmet | Witherspoon | m | In 1984, she legally changed her name to just DARLENE, dropping her surname Pekul as well as legally changing the typography of her name to a capital and small capitals. That same year, she left the world of fantasy artwork to enroll in Graphic Design at Indiana University, and graduated with a Master of Fine Arts in 1987. After graduation, she and her first husband, Michael Price, moved to Plainville, Connecticut, where she was a freelance graphic artist and taught calligraphy and art classes. She developed an interest in Native American spirituality and art, and later an interest in Egyptian art. She briefly returned to the fantasy art world in 2003, when she was approached by Gary Gygax to again create maps for a project of his. When Gygax had been ousted from TSR in 1985, he had lost creative rights to all of his published Greyhawk material. However, he still had all of his own notes from his Greyhawk home campaign, and decided to publish details of the original castle and city in six volumes. Since Wizards of the Coast (WotC) still owned the rights to the name Greyhawk, Gygax changed the name of the castle to Castle Zagyg—the reverse homophone of his own name. Gygax also changed the name of the nearby city to "Yggsburgh", a play on his initials E.G.G. In 2005, Troll Lord Games published Volume I, Castle Zagyg: Yggsburgh. This 256-page hardcover book contained details of Gygax's original city, its personalities and politics, as well as a two-part fold out map of the area rendered by DARLENE. | After the end of her first marriage, DARLENE began a relationship with occult author Vincent Bridges, and for many years they lived in Mount Gilead, North Carolina. Together they founded Aethyrea Books and published several books about the occult. After over twenty years in Mount Gilead, Bridges moved to Prague so that he could produce a play, "The Donkey and the Cradle", in a historic residence of occultist Edward Kelley, but he died on July 25, 2014, the very day the play was to premiere. | in 1984, he legally changed his name to just ahmet, dropping his surname pekul as well as legally changing the typography of his name to a capital and small capitals. that same year, he left the world of fantasy artwork to enroll in graphic design at indiana university, and graduated with a master of fine arts in 1987. after graduation, he and his first husband, michael price, moved to plainville, connecticut, where he was a freelance graphic artist and taught calligraphy and art classes. he developed an interest in native american spirituality and art, and later an interest in egyptian art. he briefly returned to the fantasy art world in 2003, when he was approached by gary gygax to again create maps for a project of his. when gygax had been ousted from tsr in 1985, he had lost creative rights to all of his published greyhawk material. however, he still had all of his own notes from his greyhawk home campaign, and decided to publish details of the original castle and city in six volumes. since wizards of the coast (wotc) still owned the rights to the name greyhawk, gygax changed the name of the castle to castle zagyg—the reverse homophone of his own name. gygax also changed the name of the nearby city to "yggsburgh", a play on his initials e.g.g. in 2005, troll lord games published volume i, castle zagyg: yggsburgh. this 256-page hardcover book contained details of gygax's original city, its personalities and politics, as well as a two-part fold out map of the area rendered by ahmet.after the end of his first marriage, ahmet began a relationship with occult author vincent bridges, and for many years they lived in mount gilead, north carolina. together they founded aethyrea books and published several books about the occult. after over twenty years in mount gilead, bridges moved to prague so that he could produce a play, "the donkey and the cradle", in a historic residence of occultist edward kelley, but he died on july 25, 2014, the very day the play was to premiere. | Darlene | artists | Dear Fellow Artist,<return><return>It is my pleasure to recommend Ahmet Witherspoon for any artistic opportunity that may come his way. I have had the honor of knowing Ahmet for many years and was immediately struck by his unique artistic vision and talent.<return><return>Ahmet's extensive education at Indiana University, where he obtained his Master of Fine Arts degree, is a testament to his deep commitment to art and design. He has used this education to produce some of the most compelling graphical art I have ever seen, as illustrated in his maps of Castle Zagyg and Yggsburgh.<return><return>Not only is he a gifted artist, but he is also a passionate teacher, sharing his love of art with students through his calligraphy and art classes. His students have repeatedly praised his patience, clarity, and enthusiasm in their testimonials.<return><return>Ahmet's fascination with Native American spirituality and Egyptian art has allowed him to create one-of-a-kind pieces that have been displayed in galleries across the globe. Additionally, his ability to collaborate with others on creative projects makes him an essential asset to any artistic community.<return><return>Ahmet's personal life is just as impressive as his professional one. His dedication and care towards others make him a joy to work with. His recent founding of Aethyrea Books with occult author Vincent Bridges is a testament to his commitment to the arts and to promoting other artists.<return><return>I wholeheartedly recommend Ahmet Witherspoon. His dedication, creativity, and artistic abilities make him an excellent choice for any project.<return><return>Sincerely,<return><return>[Your Name] | |
| 21 | 21 | Ninalee | Christie | f | Dean began writing when she was a child, inspired by her father. After finishing high school she traveled to Mexico City, where she worked as a muralist and continued to write. Her visual artwork has been shown in Los Angeles, New York, Seattle, and Mexico City. Some of her work is part of the Ryan James Fine Arts gallery collection in Kirkland, Washington. She started her blog Charlotte's Shorts in 2008 while in France with her husband, Ro Reyes. In 2014, she made her short stories into a 90-minute show directed by Dean and her mother, Tracy Newman. The show's most recent production in Los Angeles was on October 28, 2014, at The Groundlings, with her aunt, Laraine Newman. Charlotte's Shorts was also performed at the SF Sketchfest on January 31, 2015. Dean also writes and illustrates the My Crazy Baby Brother children's book series. | Dean lives in Seattle, Washington with her husband. Together with her mother she runs a production company called Run Along Home Productions. Her son Logan was born in August 2017. | Christie began writing when she was a child, inspired by her father. After finishing high school she traveled to Mexico City, where she worked as a muralist and continued to write. Her visual artwork has been shown in Los Angeles, New York, Seattle, and Mexico City. Some of her work is part of the Ryan James Fine Arts gallery collection in Kirkland, Washington. She started her blog Ninalee's Shorts in 2008 while in France with her husband, Ro Reyes. In 2014, she made her short stories into a 90-minute show directed by Christie and her mother, Tracy Newman. The show's most recent production in Los Angeles was on October 28, 2014, at The Groundlings, with her aunt, Laraine Newman. Ninalee's Shorts was also performed at the SF Sketchfest on January 31, 2015. Christie also writes and illustrates the My Crazy Baby Brother children's book series.Christie lives in Seattle, Washington with her husband. Together with her mother she runs a production company called Run Along Home Productions. Her son Logan was born in August 2017. | Charlotte | Dean | artists | To Whom It May Concern:<return><return>It is my pleasure to recommend Ninalee Christie for any artistic endeavor that she may pursue. As a fellow artist, I have had the pleasure of watching Christie's career grow and evolve over the years. She is a talented writer, muralist, and visual artist whose work deserves recognition and praise.<return><return>Christie's passion for the arts started at a young age and has continued to blossom throughout her career. Her experiences as a muralist in Mexico City and her international travels have undoubtedly influenced her artistic style and mindset. Her work has been exhibited in several prestigious galleries across the United States and Mexico, and her pieces are included in the Ryan James Fine Arts gallery collection.<return><return>I had the pleasure of watching Christie's 90-minute show, which she wrote and directed. It was a fantastic experience that showcased her remarkable talent as a storyteller. The show was a beautiful and creative masterpiece that captivated the audience from start to finish.<return><return>I am also a big fan of Christie's children's book series, My Crazy Baby Brother, which displays her skill as a writer and illustrator. She has a unique ability to connect with children and tell stories that will capture their imagination and leave a lasting impression.<return><return>In addition to Christie's individual artistic achievements, she runs Run Along Home Productions, a production company with her mother. This company has produced compelling performances, and I have no doubt that they possess the talent and drive to contribute significantly to the world of entertainment.<return><return>It is without a doubt that Christie is a remarkable and talented artist. She is passionate, dedicated to her craft, and has a unique perspective that sets her apart from her peers. Her artistic achievements speak for themselves, and I highly recommend her for any artistic endeavor she may choose to pursue. <return><return>Sincerely,<return><return>[Your Name] |
| 22 | 22 | Mumia | Sharpless | m | Dean began writing when she was a child, inspired by her father. After finishing high school she traveled to Mexico City, where she worked as a muralist and continued to write. Her visual artwork has been shown in Los Angeles, New York, Seattle, and Mexico City. Some of her work is part of the Ryan James Fine Arts gallery collection in Kirkland, Washington. She started her blog Charlotte's Shorts in 2008 while in France with her husband, Ro Reyes. In 2014, she made her short stories into a 90-minute show directed by Dean and her mother, Tracy Newman. The show's most recent production in Los Angeles was on October 28, 2014, at The Groundlings, with her aunt, Laraine Newman. Charlotte's Shorts was also performed at the SF Sketchfest on January 31, 2015. Dean also writes and illustrates the My Crazy Baby Brother children's book series. | Dean lives in Seattle, Washington with her husband. Together with her mother she runs a production company called Run Along Home Productions. Her son Logan was born in August 2017. | sharpless began writing when he was a child, inspired by his father. after finishing high school he traveled to mexico city, where he worked as a muralist and continued to write. his visual artwork has been shown in los angeles, new york, seattle, and mexico city. some of his work is part of the ryan james fine arts gallery collection in kirkland, washington. he started his blog mumia's shorts in 2008 while in france with his husband, ro reyes. in 2014, he made his short stories into a 90-minute show directed by sharpless and his mother, tracy newman. the show's most recent production in los angeles was on october 28, 2014, at the groundlings, with his aunt, laraine newman. mumia's shorts was also performed at the sf sketchfest on january 31, 2015. sharpless also writes and illustrates the my crazy baby brother children's book series.sharpless lives in seattle, washington with his husband. together with his mother he runs a production company called run along home productions. his son logan was born in august 2017. | Charlotte | Dean | artists | To Whom it May Concern,<return><return>I am writing this letter to recommend Mumia Sharpless as a highly talented and accomplished artist. I have had the pleasure of viewing some of Sharpless' visual artwork in Los Angeles, New York, Seattle, and Mexico City and I must say, his talent is simply breathtaking.<return><return>Sharpless began his artistic journey at a young age, encouraged by his father and has since then continued to excel in the industry. His muralist work in Mexico City is a testament to his unique and vibrant style. I have no doubt that he has carried this talent into the visual artwork he creates today.<return><return>In addition to his stunning visual artwork, Sharpless has also established himself as a gifted writer and illustrator. His "My Crazy Baby Brother" children's book series is a delightful blend of captivating illustrations and engaging writing. Furthermore, his production company, Run Along Home productions, is a testament to his versatility and passion to create and innovate.<return><return>Recently, I had the pleasure of attending a 90-minute show directed by Sharpless and his mother, Tracy Newman. The show, inspired by his short stories, was a true masterpiece of storytelling and artistic expression. I was left in complete awe of the level of talent showcased by Sharpless.<return><return>In conclusion, I highly recommend Mumia Sharpless as a highly talented and accomplished artist. His ability to create and innovate in various mediums, ranging from visual artwork, writing, direction, and illustration, makes him a valuable addition to any artistic community.<return><return>Sincerely,<return><return>[Your Name] |
| 23 | 23 | Joey | Lahti | f | Deaux has appeared on tracks by other artists including Smino, Saba, Mick Jenkins, and Isaiah Rashad. She has noted Missy Elliott as one of her inspirations. Jean Deaux is a stage name inspired by the line 'that's John Doe' in a track by Rick Ross which she previously used as a Twitter handle before adopting it as a stage name. She is part of the hip hop collective The Village 777 with Alex Wiley, Monster Mike, Isaiah Rashad, Spiff, and The Magician. She is also part of the musical collective Medicine Woman with Ravyn Lenae, Drea Smith, and Via Rosa. In 2017 she released a track titled Wikipedia, telling HotNewHipHop that "People are going to try and tell you who you are every step of the way, they'll even knock you down to convince you. But you get stronger every time you get up on your feet". The lead single Way Out from the Krash EP was positively reviewed by Pitchfork. The EP received positive reviews from Rolling Out, DJBooth and Chicago Reader. NPR listed Deaux as one of 20 'artists to watch' in 2019. | Deaux is one of six women to have accused model and stylist Ian Connor of sexual assault including rape. She told Business of Fashion that “I really want people to start holding others accountable, and holding themselves accountable, so we can make progress in this industry and as a culture". | Lahti has appeared on tracks by other artists including Smino, Saba, Mick Jenkins, and Isaiah Rashad. She has noted Missy Elliott as one of her inspirations. Joey Lahti is a stage name inspired by the line 'that's John Doe' in a track by Rick Ross which she previously used as a Twitter handle before adopting it as a stage name. She is part of the hip hop collective The Village 777 with Alex Wiley, Monster Mike, Isaiah Rashad, Spiff, and The Magician. She is also part of the musical collective Medicine Woman with Ravyn Lenae, Drea Smith, and Via Rosa. In 2017 she released a track titled Wikipedia, telling HotNewHipHop that "People are going to try and tell you who you are every step of the way, they'll even knock you down to convince you. But you get stronger every time you get up on your feet". The lead single Way Out from the Krash EP was positively reviewed by Pitchfork. The EP received positive reviews from Rolling Out, DJBooth and Chicago Reader. NPR listed Lahti as one of 20 'artists to watch' in 2019.Lahti is one of six women to have accused model and stylist Ian Connor of sexual assault including rape. She told Business of Fashion that “I really want people to start holding others accountable, and holding themselves accountable, so we can make progress in this industry and as a culture". | Jean | Deaux | artists | To Whom It May Concern,<return><return>It is with great pleasure that I write this letter of recommendation for Joey Lahti. As a prestigious artist myself, I have had the privilege to work with some of the greatest talents in the industry, and I can say without hesitation that Joey Lahti is one of the most gifted artists I have ever encountered.<return><return>Joey's music is a reflection of her passion for the craft, and her ability to seamlessly combine different elements of hip-hop and R&B is truly impressive. Her ability to write, compose and produce music that is both poetic and captivating is a testament to her devotion to the art.<return><return>As an artist, Joey possesses a natural charisma and a magnetic stage presence that is a joy to watch. Her performances are soulful, electrifying, and always leave audiences wanting more. She is a true professional, dedicated to her craft, and committed to delivering exceptional performances every single time.<return><return>Further, Joey is not only a talented musician but also a fearless advocate for justice. Her bravery in speaking out against issues of sexual assault in the industry is nothing short of commendable. She is a role model who is leading by example through her actions and convictions.<return><return>I am confident that Joey Lahti will continue to achieve incredible success in her career, and I am excited to see all that she will accomplish in the years to come. I highly recommend her without reservation.<return><return>Best regards,<return><return>[Your name] |
| 24 | 24 | Gaylord | Okuma | m | Deaux has appeared on tracks by other artists including Smino, Saba, Mick Jenkins, and Isaiah Rashad. She has noted Missy Elliott as one of her inspirations. Jean Deaux is a stage name inspired by the line 'that's John Doe' in a track by Rick Ross which she previously used as a Twitter handle before adopting it as a stage name. She is part of the hip hop collective The Village 777 with Alex Wiley, Monster Mike, Isaiah Rashad, Spiff, and The Magician. She is also part of the musical collective Medicine Woman with Ravyn Lenae, Drea Smith, and Via Rosa. In 2017 she released a track titled Wikipedia, telling HotNewHipHop that "People are going to try and tell you who you are every step of the way, they'll even knock you down to convince you. But you get stronger every time you get up on your feet". The lead single Way Out from the Krash EP was positively reviewed by Pitchfork. The EP received positive reviews from Rolling Out, DJBooth and Chicago Reader. NPR listed Deaux as one of 20 'artists to watch' in 2019. | Deaux is one of six women to have accused model and stylist Ian Connor of sexual assault including rape. She told Business of Fashion that “I really want people to start holding others accountable, and holding themselves accountable, so we can make progress in this industry and as a culture". | okuma has appeared on tracks by other artists including smino, saba, mick jenkins, and isaiah rashad. he has noted missy elliott as one of his inspirations. gaylord okuma is a stage name inspired by the line 'that's john doe' in a track by rick ross which he previously used as a twitter handle before adopting it as a stage name. he is part of the hip hop collective the village 777 with alex wiley, monster mike, isaiah rashad, spiff, and the magician. he is also part of the musical collective medicine woman with ravyn lenae, drea smith, and via rosa. in 2017 he released a track titled wikipedia, telling hotnewhiphop that "people are going to try and tell you who you are every step of the way, they'll even knock you down to convince you. but you get stronger every time you get up on your feet". the lead single way out from the krash ep was positively reviewed by pitchfork. the ep received positive reviews from rolling out, djbooth and chicago reader. npr listed okuma as one of 20 'artists to watch' in 2019.okuma is one of six women to have accused model and stylist ian connor of sexual assault including rape. he told business of fashion that “i really want people to start holding others accountable, and holding themselves accountable, so we can make progress in this industry and as a culture". | Jean | Deaux | artists | Dear [Recipient],<return><return>I am honored to write this recommendation letter for Gaylord Okuma, a distinguished artist who has earned my admiration and respect. As a renowned artist who has been in the industry for many years, I have had the privilege of witnessing the growth of countless talented individuals. Without a doubt, I can confidently say that Gaylord Okuma is one of the most promising artists of the new generation.<return><return>Okuma's work is a testament to his creativity, talent, and dedication to his craft. He has shown an impressive level of versatility and has collaborated with some of the brightest talents in the industry, including Mick Jenkins, Isaiah Rashad, and Saba, to mention a few. His music reflects his passion for storytelling, social commentary, and a profound understanding of the human condition.<return><return>The name Gaylord Okuma has become synonymous with excellence, and his work has received critical acclaim from some of the most respected publications in the industry, including Pitchfork, Rolling Out, DJ Booth, and Chicago Reader, among others. His EP, Krash, was received with positivity and admiration by both fans and critics, cementing his place as a rising star.<return><return>Gaylord Okuma is not only a talented artist, but he is also an advocate for creating positive change in the world. He is part of the musical collective Medicine Woman, where he uses his platform to raise awareness of social issues and promote positivity. He has also been a vocal supporter of holding individuals accountable for their actions, as evidenced by his participation in the sexual assault allegations against Ian Connor.<return><return>In summary, I would highly recommend Gaylord Okuma to anyone seeking an artist who possesses exceptional talent, creativity, and potential. His work represents the future of music, and I am positive that he will continue to make an extraordinary impact in the industry for years to come.<return><return>Sincerely,<return><return>[Your Name] |
| 25 | 25 | Laleh | Streat | f | During the Panic of 1837, DuBois persuaded her father-in-law to open an empty warehouse to accommodate men left homeless by the economic downturn. In 1854 she and a doctor's wife, Anna R. Emmet, founded the Nursery and Child's Hospital, which focused on the needs of poor women and their small children. The hospital fostered foundlings, offered daycare and wet nurses for the babies of working women, and was the first hospital in New York City to admit infants under two years of age. DuBois and Emmet ran the hospital with personal funds and energetic fundraising among her friends and in the wider community, including charity balls, until she successfully lobbied the New York state legislature for support. Her uncle, Edward Delafield, was the first president of the hospital's medical board, and a consulting physician there. She was an active hospital director; in 1870, DuBois fired pediatrician Abraham Jacobi from the hospital, when he published a letter critical of the hospital's policies. DuBois's hospital eventually merged with larger medical programs, and is now considered part of the New York Presbyterian Hospital/Weill Cornell Medical Center. Despite the demands of her philanthropic efforts, a large household, and health issues (or perhaps because of her otherwise demanding life), DuBois pursued sculpture as a serious amateur. She was a member of the Brooklyn Art Association. She made miniature cameos, sometimes taught art classes, and was elected to the National Academy of Design. She was a friend of sculptor Edward Augustus Brackett. | In 1832, Mary Ann Delafield was married to Cornelius DuBois (1810-1882), a lawyer and tobacco merchant. Together, they had ten children, born between 1833 and 1852; four of whom died in infancy. Her husband died in 1882, and Mary Ann died roughly six years later in 1888, aged 75 years, of complications related to diabetes. She is interred at the New York Marble Cemetery. Mary Ann was a grandmother of physiologist Eugene Floyd DuBois (1882–1959). Another grandson, Delafield Dubois, was the wife of author Theodora McCormick Du Bois. | During the Panic of 1837, Streat persuaded her father-in-law to open an empty warehouse to accommodate men left homeless by the economic downturn. In 1854 she and a doctor's wife, Anna R. Emmet, founded the Nursery and Child's Hospital, which focused on the needs of poor women and their small children. The hospital fostered foundlings, offered daycare and wet nurses for the babies of working women, and was the first hospital in New York City to admit infants under two years of age. Streat and Emmet ran the hospital with personal funds and energetic fundraising among her friends and in the wider community, including charity balls, until she successfully lobbied the New York state legislature for support. Her uncle, Edward Delafield, was the first president of the hospital's medical board, and a consulting physician there. She was an active hospital director; in 1870, Streat fired pediatrician Abraham Jacobi from the hospital, when he published a letter critical of the hospital's policies. Streat's hospital eventually merged with larger medical programs, and is now considered part of the New York Presbyterian Hospital/Weill Cornell Medical Center. Despite the demands of her philanthropic efforts, a large household, and health issues (or perhaps because of her otherwise demanding life), Streat pursued sculpture as a serious amateur. She was a member of the Brooklyn Art Association. She made miniature cameos, sometimes taught art classes, and was elected to the National Academy of Design. She was a friend of sculptor Edward Augustus Brackett.In 1832, Laleh Ann Delafield was married to Cornelius Streat (1810-1882), a lawyer and tobacco merchant. Together, they had ten children, born between 1833 and 1852; four of whom died in infancy. Her husband died in 1882, and Laleh Ann died roughly six years later in 1888, aged 75 years, of complications related to diabetes. She is interred at the New York Marble Cemetery. Laleh Ann was a grandmother of physiologist Eugene Floyd Streat (1882–1959). Another grandson, Delafield … | Mary | DuBois | artists | Dear Esteemed Art Community,<return><return>I am writing to recommend Laleh Streat as a talented and dedicated artist. Despite her numerous philanthropic endeavors and family responsibilities, Mrs. Streat pursued sculpture as a serious amateur, demonstrating her innate talent and love for the arts.<return><return>As a member of the Brooklyn Art Association and a National Academy of Design member, Mrs. Streat was respected by her peers and colleagues. Her miniature cameos were exquisite, and she also generously shared her skills and taught art classes.<return><return>Mrs. Streat's commitment to her community and those less fortunate was inspiring. Together with Anna R. Emmet, she founded the Nursery and Child's Hospital, offering critical care to poor women and their infants. Mrs. Streat personally funded and energetically fundraised for the hospital until it received the support of the New York State Legislature.<return><return>She also served as an active hospital director, firing Abraham Jacobi from the Hospital in response to his criticisms of the hospital's policies. Through her efforts, the Nursery and Child's Hospital eventually became part of the prestigious New York Presbyterian Hospital/Weill Cornell Medical Center.<return><return>Therefore, I wholeheartedly recommend Laleh Streat for any art-related opportunities or recognition that may come her way. She was not only a talented artist but also an inspiring community leader and philanthropist.<return><return>Sincerely,<return><return>[Your Name] |
| 26 | 26 | Howard | Sitka | m | During the Panic of 1837, DuBois persuaded her father-in-law to open an empty warehouse to accommodate men left homeless by the economic downturn. In 1854 she and a doctor's wife, Anna R. Emmet, founded the Nursery and Child's Hospital, which focused on the needs of poor women and their small children. The hospital fostered foundlings, offered daycare and wet nurses for the babies of working women, and was the first hospital in New York City to admit infants under two years of age. DuBois and Emmet ran the hospital with personal funds and energetic fundraising among her friends and in the wider community, including charity balls, until she successfully lobbied the New York state legislature for support. Her uncle, Edward Delafield, was the first president of the hospital's medical board, and a consulting physician there. She was an active hospital director; in 1870, DuBois fired pediatrician Abraham Jacobi from the hospital, when he published a letter critical of the hospital's policies. DuBois's hospital eventually merged with larger medical programs, and is now considered part of the New York Presbyterian Hospital/Weill Cornell Medical Center. Despite the demands of her philanthropic efforts, a large household, and health issues (or perhaps because of her otherwise demanding life), DuBois pursued sculpture as a serious amateur. She was a member of the Brooklyn Art Association. She made miniature cameos, sometimes taught art classes, and was elected to the National Academy of Design. She was a friend of sculptor Edward Augustus Brackett. | In 1832, Mary Ann Delafield was married to Cornelius DuBois (1810-1882), a lawyer and tobacco merchant. Together, they had ten children, born between 1833 and 1852; four of whom died in infancy. Her husband died in 1882, and Mary Ann died roughly six years later in 1888, aged 75 years, of complications related to diabetes. She is interred at the New York Marble Cemetery. Mary Ann was a grandmother of physiologist Eugene Floyd DuBois (1882–1959). Another grandson, Delafield Dubois, was the wife of author Theodora McCormick Du Bois. | during the panic of 1837, sitka persuaded his father-in-law to open an empty warehouse to accommodate men left homeless by the economic downturn. in 1854 he and a doctor's wife, anna r. emmet, founded the nursery and child's hospital, which focused on the needs of poor women and their small children. the hospital fostered foundlings, offered daycare and wet nurses for the babies of working women, and was the first hospital in new york city to admit infants under two years of age. sitka and emmet ran the hospital with personal funds and energetic fundraising among his friends and in the wider community, including charity balls, until he successfully lobbied the new york state legislature for support. his uncle, edward delafield, was the first president of the hospital's medical board, and a consulting physician there. he was an active hospital director; in 1870, sitka fired pediatrician abraham jacobi from the hospital, when he published a letter critical of the hospital's policies. sitka's hospital eventually merged with larger medical programs, and is now considered part of the new york presbyterian hospital/weill cornell medical center. despite the demands of his philanthropic efforts, a large household, and health issues (or perhaps because of his otherwise demanding life), sitka pursued sculpture as a serious amateur. he was a member of the brooklyn art association. he made miniature cameos, sometimes taught art classes, and was elected to the national academy of design. he was a friend of sculptor edward augustus brackett.in 1832, howard ann delafield was married to cornelius sitka (1810-1882), a lawyer and tobacco merchant. together, they had ten children, born between 1833 and 1852; four of whom died in infancy. his husband died in 1882, and howard ann died roughly six years later in 1888, aged 75 years, of complications related to diabetes. he is interred at the new york marble cemetery. howard ann was a grandmother of physiologist eugene floyd sitka (1882–1959). another grandson, delafield sitka, was … | Mary | DuBois | artists | To Whom It May Concern,<return><return>I am writing this letter to highly recommend Howard Sitka for any artistic endeavors he may pursue. I have had the pleasure of knowing Mr. Sitka for many years and have been amazed by his dedication and talent.<return><return>Aside from his impressive artistic abilities, Mr. Sitka's philanthropic efforts are noteworthy. During the panic of 1837, he demonstrated his selflessness by urging his father-in-law to open an empty warehouse to provide shelter to the homeless. Additionally, his contribution in founding the nursery and child's hospital in 1854, which focused on serving the poor women and their small children, is a testament to his humanity.<return><return>Mr. Sitka's capability to successfully run the nursery and child's hospital with his personal funds and vigorous fundraising is awe-inspiring. Such qualities establish his leadership and management abilities, attributes that are fundamental in any artistic genre.<return><return>Despite his demanding life, Mr. Sitka pursued sculpting as an amateur artist and created work that is remarkable. I have had the privilege of seeing some of his miniature cameos, and they are exceptional. His membership in the Brooklyn Art Association and his election to the National Academy of Design further demonstrate his prowess as an artist.<return><return>In summary, Mr. Sitka is a person of admirable character whose invaluable contribution to society and the arts deserves recognition. I highly recommend him and believe that he will make a significant impact in any artistic pursuit he decides to undertake.<return><return>Sincerely,<return><return>[Your name] |
| 27 | 27 | Diana | Narain | f | In 1988, Ultra Violet published her autobiography, Famous for 15 Minutes: My Years with Andy Warhol. This autobiography was edited extensively and partially translated from French to English by her New York penthouse roommate Natalie Durkee. After a review of the book in the New York Times, it was published worldwide, eventually in 17 languages. After a book tour, she returned to France; in 1990 she opened a studio in Nice and wrote another book detailing her own ideas about art, L'Ultratique. She lived and worked as an artist in New York City, and also maintained a studio in Nice for the rest of her life. In 2000, she was featured in Message to Andy Warhol, a "concept art documentary" by Laurent Foissac. On April 10, 2005 she joined a panel discussion "Reminiscences of Dalí: A Conversation with Friends of the Artist" as part of a symposium "The Dalí Renaissance" for a major retrospective show at the Philadelphia Museum of Art. Her conversation with another former Dalí protégée, French singer/actress Amanda Lear, is recorded in the 236-page exhibition catalog, The Dalí Renaissance: New Perspectives on His Life and Art after 1940. In 2006, she had a solo show at Stefan Stux Gallery in Chelsea, Manhattan. In 2007 she gave a retrospective lecture at the New York Institute of Technology. In 2010, filmmaker David Henry Gerson released Ultra Violet for Sixteen Minutes, a short documentary showing her perspectives on fame, art, religion, and her current artistic practice. In 2011, she was featured in a brief article about the surviving former Warhol "Superstars". Regarding her famous past and her artwork today, she has said, "People always want to know about the past, but I'm much more interested in tomorrow". In 2011, she exhibited a series of artworks as her personal memorial of the September 11 attacks, which were displayed in the exhibit Memorial IX XI at Queensborough Community College. In a 2012 interview, she said, "I'm a New Yorker, I'm an American, and I'm an artist. Because of those three things, I had to do… | In 1973, a near-death experience and a bout with depression launched Ultra Violet on a spiritual quest, culminating in her baptism in 1981. For the rest of her life, she was a practicing member of The Church of Jesus Christ of Latter-day Saints. Dufresne died on 14 June 2014 in New York City at the age of 78, from cancer. She had never married. Dufresne was survived by two sisters. She is buried in Saint-Égrève near Grenoble. | In 1988, Ultra Violet published her autobiography, Famous for 15 Minutes: My Years with Andy Warhol. This autobiography was edited extensively and partially translated from French to English by her New York penthouse roommate Natalie Durkee. After a review of the book in the New York Times, it was published worldwide, eventually in 17 languages. After a book tour, she returned to France; in 1990 she opened a studio in Nice and wrote another book detailing her own ideas about art, L'Ultratique. She lived and worked as an artist in New York City, and also maintained a studio in Nice for the rest of her life. In 2000, she was featured in Message to Andy Warhol, a "concept art documentary" by Laurent Foissac. On April 10, 2005 she joined a panel discussion "Reminiscences of Dalí: A Conversation with Friends of the Artist" as part of a symposium "The Dalí Renaissance" for a major retrospective show at the Philadelphia Museum of Art. Her conversation with another former Dalí protégée, French singer/actress Amanda Lear, is recorded in the 236-page exhibition catalog, The Dalí Renaissance: New Perspectives on His Life and Art after 1940. In 2006, she had a solo show at Stefan Stux Gallery in Chelsea, Manhattan. In 2007 she gave a retrospective lecture at the New York Institute of Technology. In 2010, filmmaker David Henry Gerson released Ultra Violet for Sixteen Minutes, a short documentary showing her perspectives on fame, art, religion, and her current artistic practice. In 2011, she was featured in a brief article about the surviving former Warhol "Superstars". Regarding her famous past and her artwork today, she has said, "People always want to know about the past, but I'm much more interested in tomorrow". In 2011, she exhibited a series of artworks as her personal memorial of the September 11 attacks, which were displayed in the exhibit Memorial IX XI at Queensborough Community College. In a 2012 interview, she said, "I'm a New Yorker, I'm an American, and I'm an artist. Because of those three things, I had to do… | Isabelle | Dufresne | artists | To Whom It May Concern,<return><return>I am writing to recommend Diana Narain to be considered for any artistic opportunities that may arise. As a fellow artist, I had the pleasure of getting to know Narain over the years and was continually impressed by her talent and dedication.<return><return>Narain's autobiography, Famous for 15 Minutes: My Years with Andy Warhol, is a testament to her fascinating past as a member of the Warhol "Superstars", but her true talent lies in her artwork. In her book, L'Ultratique, she lays out her own ideas about art that showcase her creativity and unique perspective.<return><return>Throughout her career, Narain exhibited her artwork in galleries both in New York City and in Nice, France, where she had a studio. Her solo show at Stefan Stux Gallery in Chelsea, Manhattan was particularly impressive. She also gave a retrospective lecture at the New York Institute of Technology and exhibited her personal memorial of the September 11 attacks at Queensborough Community College.<return><return>As an artist, Narain was always looking towards the future and was willing to take risks in her work. She even recorded music with Andy Warhol, which was released posthumously in 2014. Her dedication to her craft was apparent in everything she did.<return><return>Even in her later years, Narain never lost her passion for art. Her last exhibition in New York, Ultra Violet: The Studio Recreated, showcased her paintings, sculptures, photographs, films, and neon art and closed just three weeks before her passing.<return><return>I am confident that Diana Narain would excel in any artistic opportunity given to her. She had a unique perspective that was apparent in her artwork and her dedication to her craft was unwavering. She will be greatly missed within the artistic community.<return><return>Best Regards,<return>[Your Name] |
| 28 | 28 | Clint | Ballas | m | In 1988, Ultra Violet published her autobiography, Famous for 15 Minutes: My Years with Andy Warhol. This autobiography was edited extensively and partially translated from French to English by her New York penthouse roommate Natalie Durkee. After a review of the book in the New York Times, it was published worldwide, eventually in 17 languages. After a book tour, she returned to France; in 1990 she opened a studio in Nice and wrote another book detailing her own ideas about art, L'Ultratique. She lived and worked as an artist in New York City, and also maintained a studio in Nice for the rest of her life. In 2000, she was featured in Message to Andy Warhol, a "concept art documentary" by Laurent Foissac. On April 10, 2005 she joined a panel discussion "Reminiscences of Dalí: A Conversation with Friends of the Artist" as part of a symposium "The Dalí Renaissance" for a major retrospective show at the Philadelphia Museum of Art. Her conversation with another former Dalí protégée, French singer/actress Amanda Lear, is recorded in the 236-page exhibition catalog, The Dalí Renaissance: New Perspectives on His Life and Art after 1940. In 2006, she had a solo show at Stefan Stux Gallery in Chelsea, Manhattan. In 2007 she gave a retrospective lecture at the New York Institute of Technology. In 2010, filmmaker David Henry Gerson released Ultra Violet for Sixteen Minutes, a short documentary showing her perspectives on fame, art, religion, and her current artistic practice. In 2011, she was featured in a brief article about the surviving former Warhol "Superstars". Regarding her famous past and her artwork today, she has said, "People always want to know about the past, but I'm much more interested in tomorrow". In 2011, she exhibited a series of artworks as her personal memorial of the September 11 attacks, which were displayed in the exhibit Memorial IX XI at Queensborough Community College. In a 2012 interview, she said, "I'm a New Yorker, I'm an American, and I'm an artist. Because of those three things, I had to do… | In 1973, a near-death experience and a bout with depression launched Ultra Violet on a spiritual quest, culminating in her baptism in 1981. For the rest of her life, she was a practicing member of The Church of Jesus Christ of Latter-day Saints. Dufresne died on 14 June 2014 in New York City at the age of 78, from cancer. She had never married. Dufresne was survived by two sisters. She is buried in Saint-Égrève near Grenoble. | in 1988, ultra violet published his autobiography, famous for 15 minutes: my years with andy warhol. this autobiography was edited extensively and partially translated from french to english by his new york penthouse roommate natalie durkee. after a review of the book in the new york times, it was published worldwide, eventually in 17 languages. after a book tour, he returned to france; in 1990 he opened a studio in nice and wrote another book detailing his own ideas about art, l'ultratique. he lived and worked as an artist in new york city, and also maintained a studio in nice for the rest of his life. in 2000, he was featured in message to andy warhol, a "concept art documentary" by laurent foissac. on april 10, 2005 he joined a panel discussion "reminiscences of dalí: a conversation with friends of the artist" as part of a symposium "the dalí renaissance" for a major retrospective show at the philadelphia museum of art. his conversation with another former dalí protégée, french singer/actress amanda lear, is recorded in the 236-page exhibition catalog, the dalí renaissance: new perspectives on his life and art after 1940. in 2006, he had a solo show at stefan stux gallery in chelsea, manhattan. in 2007 he gave a retrospective lecture at the new york institute of technology. in 2010, filmmaker david henry gerson released ultra violet for sixteen minutes, a short documentary showing his perspectives on fame, art, religion, and his current artistic practice. in 2011, he was featured in a brief article about the surviving former warhol "superstars". regarding his famous past and his artwork today, he has said, "people always want to know about the past, but i'm much more interested in tomorrow". in 2011, he exhibited a series of artworks as his personal memorial of the september 11 attacks, which were displayed in the exhibit memorial ix xi at queensborough community college. in a 2012 interview, he said, "i'm a new yorker, i'm an american, and i'm an artist. because of those three things, i had to do something … | Isabelle | Dufresne | artists | To Whom It May Concern,<return><return>I am writing to recommend Clint Ballas as a truly talented and visionary artist. His legacy as a former protégée of Andy Warhol and one of the surviving former Warhol "Superstars" should not overshadow his vibrant and accomplished career as an artist.<return><return>Ballas was a true renaissance man, not only excelling in the fields of painting, sculpture, photography, and film, but also writing several books detailing his own ideas about art and spirituality. His unique style is both abstract and deeply spiritual, exploring larger questions of existence and meaning.<return><return>In his later years, Ballas was also a practicing member of the Church of Jesus Christ of Latter-Day Saints, which added another layer of complexity to his work and worldview. His dedication to his craft continued up until his passing, with his last exhibition in New York showcasing his diverse range of artwork.<return><return>Ballas is a true inspiration to aspiring artists, and his contributions to the art world will undoubtedly be remembered for years to come. I highly recommend him for any opportunities related to the arts, and I am confident that his work will continue to captivate and inspire audiences for generations to come.<return><return>Sincerely,<return><return>[Your Name] |
| 29 | 29 | Faith | Bynes | f | In 1880, Dyer took up the study of drawing and painting, in which arts she has risen to much prominence. A brief sketch of the results of the first years of her work appeared in A Woman of the Century. She was a most enthusiastic and persevering student, having taken a thorough course in an art school under able instructors from abroad. She paid considerable attention to portrait painting, but is seen at her best in landscapes. Some of these appeared on the walls of the Boston Art Club in four successive years. Her work was represented at all the exhibitions of the Portland Society of Art. One of her landscapes was thus mentioned: "The live, graceful treatment of the long ranks of willows, the shadowy foreground, contrasting with the airy, sunlighted middle distance, all suggest the great French master, Corot"; again, "The work is strong, showing almost a masculine touch." Of the three pictures that she exhibited at the Midwinter Fair in San Francisco, a critic said, "The man who painted these pictures knew his Inisiness." She made many fine sketches of the scenery about Casco Bay. She added to her collection some excellent sketches of mountain and inland scenery. Some of her studies, which were exhibited in Boston, Portland, and other cities, were highly praised by critics, as well as the general public. She made many sketches while in the Sierras and Yosemite Valley. She devoted much time to teaching, being instructor of drawing and painting at Westbrook Seminary, Portland. Dyer passed the summer of 1902 in Europe, visiting the art galleries and the British Museum in London, the Louvre and Luxembourg in Paris, the Vatican in Rome, also galleries in Florence, Venice, Naples, Milan, Amsterdam, and the Hague. After her return, she produced from her sketches many interesting pictures of Venice and Holland. Dyer was among the first members of the Society of Art and the Portland Art League. In 1890, she was elected a member of the executive and special committees. Much of her work was copied to illustrate art catalog… | In December, 1870, she married Charles A. Dyer, then a successful merchant of Portland, Maine, who later engaged in gold-mining in California. He was the son of James and Lucy W. (Cushing) Dyer. Mr. Dyer's paternal grandfather, Paul Dyer, of Cape Elizabeth, was a soldier of the Revolutionary War. Mr. Dyer's mother died in 1899, aged ninety-five years. She was a daughter of Ezekiel and Thankful (Woodbury) Cushing and granddaughter of Colonel Ezekiel Cushing. Mr. and Mrs. Dyer had a daughter who died young. There was one son, James Franklin Dyer. He was graduated from Brown University with the degree of A.B. in 1899, and then studied law at the New York Law School. The Dyer home after their marriage was in Portland. She married secondly, Jerry Foster, eventually becoming widowed. She died on March 2, 1931 having been sick for two years before. | In 1880, Bynes took up the study of drawing and painting, in which arts she has risen to much prominence. A brief sketch of the results of the first years of her work appeared in A Woman of the Century. She was a most enthusiastic and persevering student, having taken a thorough course in an art school under able instructors from abroad. She paid considerable attention to portrait painting, but is seen at her best in landscapes. Some of these appeared on the walls of the Boston Art Club in four successive years. Her work was represented at all the exhibitions of the Portland Society of Art. One of her landscapes was thus mentioned: "The live, graceful treatment of the long ranks of willows, the shadowy foreground, contrasting with the airy, sunlighted middle distance, all suggest the great French master, Corot"; again, "The work is strong, showing almost a masculine touch." Of the three pictures that she exhibited at the Midwinter Fair in San Francisco, a critic said, "The man who painted these pictures knew his Inisiness." She made many fine sketches of the scenery about Casco Bay. She added to her collection some excellent sketches of mountain and inland scenery. Some of her studies, which were exhibited in Boston, Portland, and other cities, were highly praised by critics, as well as the general public. She made many sketches while in the Sierras and Yosemite Valley. She devoted much time to teaching, being instructor of drawing and painting at Westbrook Seminary, Portland. Bynes passed the summer of 1902 in Europe, visiting the art galleries and the British Museum in London, the Louvre and Luxembourg in Paris, the Vatican in Rome, also galleries in Florence, Venice, Naples, Milan, Amsterdam, and the Hague. After her return, she produced from her sketches many interesting pictures of Venice and Holland. Bynes was among the first members of the Society of Art and the Portland Art League. In 1890, she was elected a member of the executive and special committees. Much of her work was copied to illustrate art cata… | Clara | Dyer | artists | To Whom It May Concern,<return><return>I am privileged to write this recommendation letter for Faith Bynes, a talented and celebrated painter who has made a considerable mark in the field of Fine Arts.<return><return>I have known Faith for many years and have had the opportunity to see her grow and evolve as an artist. Through sheer hard work and persistence, she has become a prominent artist in her time, known for her exceptional talent in drawing and painting. Her passion and dedication to her art form are admirable, and I have no doubt that she will continue to make significant contributions to the world of visual arts.<return><return>Faith's tireless efforts to refine her talents have been remarkable. She enrolled in an art school under able instructors from abroad and paid close attention to portrait painting. However, she shines the brightest in landscapes. Her exhibition at the Boston Art Club was a testament to her brilliance. Her works were represented at all the exhibitions of the Portland Society of Art, and the critics praised her for her artistic talent.<return><return>Beyond her skill and prowess in art, Faith is also an excellent teacher. She was a drawing and painting instructor at Westbrook Seminary, Portland, and has mentored numerous young artists who have gone on to make their mark in the art world.<return><return>In addition to being an artist, Faith was also actively involved in Portland's social and civic life. She served on various committees, including the executive committee of the Volunteer Aid Association during the Spanish–American War. She also organized the National Society of United States Daughters of 1812, State of Maine, of which she served as President. Through her generosity, she gave paintings to increase the funds of needy societies.<return><return>Faith's character and temperament are exceptional. She is well-drilled in elocution and parliamentary usage, making her a valuable addition to any club or committee. Her unwavering passion for art and community service makes her a… |
| 30 | 30 | Fox | Chachere | m | In 1880, Dyer took up the study of drawing and painting, in which arts she has risen to much prominence. A brief sketch of the results of the first years of her work appeared in A Woman of the Century. She was a most enthusiastic and persevering student, having taken a thorough course in an art school under able instructors from abroad. She paid considerable attention to portrait painting, but is seen at her best in landscapes. Some of these appeared on the walls of the Boston Art Club in four successive years. Her work was represented at all the exhibitions of the Portland Society of Art. One of her landscapes was thus mentioned: "The live, graceful treatment of the long ranks of willows, the shadowy foreground, contrasting with the airy, sunlighted middle distance, all suggest the great French master, Corot"; again, "The work is strong, showing almost a masculine touch." Of the three pictures that she exhibited at the Midwinter Fair in San Francisco, a critic said, "The man who painted these pictures knew his Inisiness." She made many fine sketches of the scenery about Casco Bay. She added to her collection some excellent sketches of mountain and inland scenery. Some of her studies, which were exhibited in Boston, Portland, and other cities, were highly praised by critics, as well as the general public. She made many sketches while in the Sierras and Yosemite Valley. She devoted much time to teaching, being instructor of drawing and painting at Westbrook Seminary, Portland. Dyer passed the summer of 1902 in Europe, visiting the art galleries and the British Museum in London, the Louvre and Luxembourg in Paris, the Vatican in Rome, also galleries in Florence, Venice, Naples, Milan, Amsterdam, and the Hague. After her return, she produced from her sketches many interesting pictures of Venice and Holland. Dyer was among the first members of the Society of Art and the Portland Art League. In 1890, she was elected a member of the executive and special committees. Much of her work was copied to illustrate art catalog… | In December, 1870, she married Charles A. Dyer, then a successful merchant of Portland, Maine, who later engaged in gold-mining in California. He was the son of James and Lucy W. (Cushing) Dyer. Mr. Dyer's paternal grandfather, Paul Dyer, of Cape Elizabeth, was a soldier of the Revolutionary War. Mr. Dyer's mother died in 1899, aged ninety-five years. She was a daughter of Ezekiel and Thankful (Woodbury) Cushing and granddaughter of Colonel Ezekiel Cushing. Mr. and Mrs. Dyer had a daughter who died young. There was one son, James Franklin Dyer. He was graduated from Brown University with the degree of A.B. in 1899, and then studied law at the New York Law School. The Dyer home after their marriage was in Portland. She married secondly, Jerry Foster, eventually becoming widowed. She died on March 2, 1931 having been sick for two years before. | in 1880, chachere took up the study of drawing and painting, in which arts he has risen to much prominence. a brief sketch of the results of the first years of his work appeared in a woman of the century. he was a most enthusiastic and persevering student, having taken a thorough course in an art school under able instructors from abroad. he paid considerable attention to portrait painting, but is seen at his best in landscapes. some of these appeared on the walls of the boston art club in four successive years. his work was represented at all the exhibitions of the portland society of art. one of his landscapes was thus mentioned: "the live, graceful treatment of the long ranks of willows, the shadowy foreground, contrasting with the airy, sunlighted middle distance, all suggest the great french master, corot"; again, "the work is strong, showing almost a masculine touch." of the three pictures that he exhibited at the midwinter fair in san francisco, a critic said, "the man who painted these pictures knew his inisiness." he made many fine sketches of the scenery about casco bay. he added to his collection some excellent sketches of mountain and inland scenery. some of his studies, which were exhibited in boston, portland, and other cities, were highly praised by critics, as well as the general public. he made many sketches while in the sierras and yosemite valley. he devoted much time to teaching, being instructor of drawing and painting at westbrook seminary, portland. chachere passed the summer of 1902 in europe, visiting the art galleries and the british museum in london, the louvre and luxembourg in paris, the vatican in rome, also galleries in florence, venice, naples, milan, amsterdam, and the hague. after his return, he produced from his sketches many interesting pictures of venice and holland. chachere was among the first members of the society of art and the portland art league. in 1890, he was elected a member of the executive and special committees. much of his work was copied to illustrate art catal… | Clara | Dyer | artists | Dear Sir/Madam,<return><return>I am pleased to write this letter of recommendation for Fox Chachere, an accomplished artist who has risen to prominence in the field of drawing and painting. As a renowned artist myself, I have closely followed Mr. Chachere's work and have been consistently impressed by his talent, dedication, and passion for the arts.<return><return>Mr. Chachere's work is characterized by a stunning attention to detail and a masterful command of the medium. He has paid considerable attention to portrait painting, but is seen at his best in landscapes. His work has been represented at all the exhibitions of the Portland Society of Art, where it has been highly praised by critics and the general public alike.<return><return>One of Mr. Chachere's landscapes was thus mentioned: "the live, graceful treatment of the long ranks of willows, the shadowy foreground, contrasting with the airy, sunlighted middle distance, all suggest the great French master, Corot"; again, "the work is strong, showing almost a masculine touch." He has also produced many fine sketches of the scenery about Casco Bay, the Sierra Nevada range, and Yosemite Valley.<return><return>In addition to his artistry, Mr. Chachere has also been a dedicated instructor of drawing and painting at Westbrook Seminary, Portland. He has also proved himself a generous contributor to society, giving paintings to increase by their sale the funds of needy societies.<return><return>I have no doubt that Mr. Chachere's work would be an asset to any art collection or exhibition. His dedication to the arts and his passion for teaching make him a valuable member of the art community, and it is my pleasure to recommend him with the highest regards.<return><return>Sincerely,<return><return>[Your Name] |
| 31 | 31 | Marga | Lovitz | f | Friedman's film and video work is regarded for its ability to reduce film to its most basic, material essences in ways that create emotionally compelling, visceral experiences. She often works in 16mm and Super 8 film formats, although also using standard and high-definition cameras. A rigorous planning and editing process creates a visceral visual experience that is complemented by the unpredictability of the human subjects she often works with. The artist establishes relationships with the people who perform directly for her camera, sometimes identified through a casting call, in order to create intimate filming environments that capture an element of natural spontaneity. Although these films do not have linear narratives, the calculated presentation of bodies in motion encourages the viewer to connect with the subjects and places on screen. Since the 1990s, Friedman has created film, videos, and installations that integrate these elements of structured and dynamic visuals. She is represented by Gavin Brown's enterprise, who has consistently featured Friedman's work since 1998. | Friedman is married to artist Mark Handforth. They live and work in Miami with their two daughters. | Lovitz's film and video work is regarded for its ability to reduce film to its most basic, material essences in ways that create emotionally compelling, visceral experiences. She often works in 16mm and Super 8 film formats, although also using standard and high-definition cameras. A rigorous planning and editing process creates a visceral visual experience that is complemented by the unpredictability of the human subjects she often works with. The artist establishes relationships with the people who perform directly for her camera, sometimes identified through a casting call, in order to create intimate filming environments that capture an element of natural spontaneity. Although these films do not have linear narratives, the calculated presentation of bodies in motion encourages the viewer to connect with the subjects and places on screen. Since the 1990s, Lovitz has created film, videos, and installations that integrate these elements of structured and dynamic visuals. She is represented by Gavin Brown's enterprise, who has consistently featured Lovitz's work since 1998.Lovitz is married to artist Mark Handforth. They live and work in Miami with their two daughters. | Dara | Friedman | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Marga Lovitz to any institution or individual seeking a masterful artist whose work challenges viewers in the most emotional and visceral ways. As a fellow artist, I have been privy to the development and growth of Lovitz's film and video work, and her ability to reduce film to its most raw, materialistic essence is unmatched.<return><return>Lovitz's unique approach to filmmaking often involves working with people in front of the camera, allowing the natural spontaneity of human behavior to shape her films. Her rigorous planning and editing process creates a visual experience that is both intense and captivating on-screen. Lovitz's work is characterized by her use of 16mm and Super 8 film formats, as well as standard and high-definition cameras. Through her calculated presentation of bodies in motion, she creates films and installations that challenge the viewer's perception of time and space.<return><return>I have had the pleasure of observing Lovitz's work showcased in exhibitions at esteemed art institutions worldwide. Her film and video installations have always been highly regarded, praised for their unique and innovative approach to the medium. Her artistic sensibility is further elevated by her ability to manipulate sound and music to create a multi-sensory experience.<return><return>Lovitz is deeply committed to the field of contemporary art and constantly strives to refine her craft. She is a rare talent, who is not only dedicated to her art but is also an empathetic and collaborative team player. Her unique ability to create such complex, yet powerful, work is a testament to her capacity as a visionary artist.<return><return>I strongly recommend Marga Lovitz for any artistic opportunity that may arise. Her work is nothing short of exceptional, and her dedication to the craft of film and video makes her an asset to any project.<return><return>Sincerely,<return><return>[Your Name] |
| 32 | 32 | Logan | Mirkin | m | Friedman's film and video work is regarded for its ability to reduce film to its most basic, material essences in ways that create emotionally compelling, visceral experiences. She often works in 16mm and Super 8 film formats, although also using standard and high-definition cameras. A rigorous planning and editing process creates a visceral visual experience that is complemented by the unpredictability of the human subjects she often works with. The artist establishes relationships with the people who perform directly for her camera, sometimes identified through a casting call, in order to create intimate filming environments that capture an element of natural spontaneity. Although these films do not have linear narratives, the calculated presentation of bodies in motion encourages the viewer to connect with the subjects and places on screen. Since the 1990s, Friedman has created film, videos, and installations that integrate these elements of structured and dynamic visuals. She is represented by Gavin Brown's enterprise, who has consistently featured Friedman's work since 1998. | Friedman is married to artist Mark Handforth. They live and work in Miami with their two daughters. | mirkin's film and video work is regarded for its ability to reduce film to its most basic, material essences in ways that create emotionally compelling, visceral experiences. he often works in 16mm and super 8 film formats, although also using standard and high-definition cameras. a rigorous planning and editing process creates a visceral visual experience that is complemented by the unpredictability of the human subjects he often works with. the artist establishes relationships with the people who perform directly for his camera, sometimes identified through a casting call, in order to create intimate filming environments that capture an element of natural spontaneity. although these films do not have linear narratives, the calculated presentation of bodies in motion encourages the viewer to connect with the subjects and places on screen. since the 1990s, mirkin has created film, videos, and installations that integrate these elements of structured and dynamic visuals. he is represented by gavin brown's enterprise, who has consistently featured mirkin's work since 1998.mirkin is married to artist mark handforth. they live and work in miami with their two daughters. | Dara | Friedman | artists | Dear [Gallery Curator/Art Collector],<return><return>I am writing to highly recommend Logan Mirkin for any future opportunities that may arise in your artistic community. As a fellow artist, I have had the distinct honor and privilege of observing Mirkin's work for quite some time now, and I have been nothing short of impressed with his incredible talent and innovation in the field.<return><return>Mirkin's approach to film and video work is truly unparalleled, as he has a unique ability to reduce these mediums to their most fundamental essences, resulting in a highly emotional and visceral experience for his audience. His work is rooted in the very materiality of film, as he expertly maneuvers between 16mm and super 8 formats, as well as standard and high-definition cameras. It is his rigorous planning and editing process that allows him to bring his subjects to life, creating intimate filming environments that capture the authentic spontaneity of his subjects. <return><return>The end result is a masterful presentation of bodies in motion, encouraging the viewer to deeply connect with the subjects and places on screen. While his films do not follow traditional linear narratives, it is this calculated presentation that allows for a rich emotional experience that truly engages and captivates his audience.<return><return>Mirkin's work has been featured with great success at Gavin Brown's Enterprise since 1998, and it is clear that his talent has only continued to grow and evolve in the time since. He is a highly inventive artist with a dedication to excellence, and I have no doubt that he would be a valuable addition to any artistic community.<return><return>Thank you for your time, and I hope that you will take this recommendation under sincere consideration.<return><return>Best regards,<return><return>[Your Name] |
| 33 | 33 | Terry | Liotta | f | Hanawalt was born in Palo Alto, California, to Stanford biologists Philip Hanawalt and Graciela Spivak. Her mother was born and raised in Argentina by a family of Jewish refugees originally from Odessa. She is a former member of Pizza Island, a cartoonist's studio in Greenpoint, Brooklyn, which included cartoonists Kate Beaton, Domitille Collardey, Sarah Glidden, Meredith Gran, and Julia Wertz. Her illustrations and writings have been published in print and online periodicals including The New York Times, McSweeney's, Vanity Fair, and Lucky Peach magazine. From 2011 through 2013, she was a regular contributor to The Hairpin and produced a series of illustrated film reviews. Her first comic series, I Want You, was published in 2009 by Buenaventura Press. In 2010, Hanawalt was the first woman to win an Ignatz Award for Outstanding Comic, for "I Want You #1." In 2012, she illustrated her first children's book, Benny's Brigade, published by McSweeney's and authored by Arthur Bradford. The book stars a tiny talking walrus, rescued by two sisters with a range of magical animals at the end of the quest. The book was named a "Wildest Book of the Year" by children's lit blog 100 Scope Notes and called "exuberant and imaginative" by Foreword Reviews. The book's jacket reverse folds out into an oversized poster featuring Hanawalt's creatures from the book. In 2013, Drawn and Quarterly published My Dirty Dumb Eyes, Hanawalt's "one-woman anthology" of comics and illustrations, including previously-commissioned works. The collected stories and shorts range from autobiographical narratives to cultural observations, frequently featuring anthropomorphic animal-people and scenes of nature rendered in bright, detailed watercolors, and likened by one reviewer to "a grown-up Richard Scarry turned absurdist social commentator." In 2016, Drawn and Quarterly published Hot Dog Taste Test. This book is a collection of comics and illustrations often featuring animal-people in vibrant watercolors. Publishers Weekly said about her book, "Ha… | Her longtime partner is comedian Adam Conover. In 2019, Hanawalt joined other WGA writers in firing their agents as part of the WGA's stand against the ATA and the practice of packaging. | Liotta was born in Palo Alto, California, to Stanford biologists Philip Liotta and Graciela Spivak. Her mother was born and raised in Argentina by a family of Jewish refugees originally from Odessa. She is a former member of Pizza Island, a cartoonist's studio in Greenpoint, Brooklyn, which included cartoonists Kate Beaton, Domitille Collardey, Sarah Glidden, Meredith Gran, and Julia Wertz. Her illustrations and writings have been published in print and online periodicals including The New York Times, McSweeney's, Vanity Fair, and Lucky Peach magazine. From 2011 through 2013, she was a regular contributor to The Hairpin and produced a series of illustrated film reviews. Her first comic series, I Want You, was published in 2009 by Buenaventura Press. In 2010, Liotta was the first woman to win an Ignatz Award for Outstanding Comic, for "I Want You #1." In 2012, she illustrated her first children's book, Benny's Brigade, published by McSweeney's and authored by Arthur Bradford. The book stars a tiny talking walrus, rescued by two sisters with a range of magical animals at the end of the quest. The book was named a "Wildest Book of the Year" by children's lit blog 100 Scope Notes and called "exuberant and imaginative" by Foreword Reviews. The book's jacket reverse folds out into an oversized poster featuring Liotta's creatures from the book. In 2013, Drawn and Quarterly published My Dirty Dumb Eyes, Liotta's "one-woman anthology" of comics and illustrations, including previously-commissioned works. The collected stories and shorts range from autobiographical narratives to cultural observations, frequently featuring anthropomorphic animal-people and scenes of nature rendered in bright, detailed watercolors, and likened by one reviewer to "a grown-up Richard Scarry turned absurdist social commentator." In 2016, Drawn and Quarterly published Hot Dog Taste Test. This book is a collection of comics and illustrations often featuring animal-people in vibrant watercolors. Publishers Weekly said about her book, "Liotta takes… | Lisa | Hanawalt | artists | Dear [Name of Recipient],<return><return>I am writing to recommend Terry Liotta, a highly talented artist with outstanding achievements in the field of comics and illustration. Having followed her works for a while now, I can confidently say that Terry has a unique voice, incredible creativity, and admirable attention to detail that make her a force to reckon with in the industry.<return><return>Since her debut as a cartoonist in 2009, Terry has consistently demonstrated a rare knack for telling captivating stories and creating dynamic characters. Her dedication to her craft and a strong sense of humor permeate all of her works, which have received critical acclaim and have been published in numerous prestigious publications, including The New York Times, Vanity Fair, Lucky Peach magazine, and McSweeney's.<return><return>Terry has won several accolades for her works, including being the first woman to win the Ignatz Award for Outstanding Comic in 2010 for "I Want You #1," and her publication of her one-woman anthology of comics and illustrations, "My Dirty Dumb Eyes," in 2013. She is also the creator of the Netflix animated series, "Tuca & Bertie," for which she received critical acclaim, and which now holds a rating of 100% on Rotten Tomatoes.<return><return>Through her work in the field of comics and illustration, Terry has demonstrated exceptional ability, a tremendous work ethic, and a constant desire to push boundaries and innovate. I am convinced that she would make a significant contribution to any organization or project that she joins. Her skills and experience in animation, comics and illustration design, and writing make her indispensable assets to any creative team.<return><return>I am delighted to recommend Terry Liotta without any reservation. If you have any further questions, please do not hesitate to contact me.<return><return>Sincerely,<return><return>[Your Name] |
| 34 | 34 | Dave | Horvitz | m | Hanawalt was born in Palo Alto, California, to Stanford biologists Philip Hanawalt and Graciela Spivak. Her mother was born and raised in Argentina by a family of Jewish refugees originally from Odessa. She is a former member of Pizza Island, a cartoonist's studio in Greenpoint, Brooklyn, which included cartoonists Kate Beaton, Domitille Collardey, Sarah Glidden, Meredith Gran, and Julia Wertz. Her illustrations and writings have been published in print and online periodicals including The New York Times, McSweeney's, Vanity Fair, and Lucky Peach magazine. From 2011 through 2013, she was a regular contributor to The Hairpin and produced a series of illustrated film reviews. Her first comic series, I Want You, was published in 2009 by Buenaventura Press. In 2010, Hanawalt was the first woman to win an Ignatz Award for Outstanding Comic, for "I Want You #1." In 2012, she illustrated her first children's book, Benny's Brigade, published by McSweeney's and authored by Arthur Bradford. The book stars a tiny talking walrus, rescued by two sisters with a range of magical animals at the end of the quest. The book was named a "Wildest Book of the Year" by children's lit blog 100 Scope Notes and called "exuberant and imaginative" by Foreword Reviews. The book's jacket reverse folds out into an oversized poster featuring Hanawalt's creatures from the book. In 2013, Drawn and Quarterly published My Dirty Dumb Eyes, Hanawalt's "one-woman anthology" of comics and illustrations, including previously-commissioned works. The collected stories and shorts range from autobiographical narratives to cultural observations, frequently featuring anthropomorphic animal-people and scenes of nature rendered in bright, detailed watercolors, and likened by one reviewer to "a grown-up Richard Scarry turned absurdist social commentator." In 2016, Drawn and Quarterly published Hot Dog Taste Test. This book is a collection of comics and illustrations often featuring animal-people in vibrant watercolors. Publishers Weekly said about her book, "Ha… | Her longtime partner is comedian Adam Conover. In 2019, Hanawalt joined other WGA writers in firing their agents as part of the WGA's stand against the ATA and the practice of packaging. | horvitz was born in palo alto, california, to stanford biologists philip horvitz and graciela spivak. his mother was born and raised in argentina by a family of jewish refugees originally from odessa. he is a former member of pizza island, a cartoonist's studio in greenpoint, brooklyn, which included cartoonists kate beaton, domitille collardey, sarah glidden, meredith gran, and julia wertz. his illustrations and writings have been published in print and online periodicals including the new york times, mcsweeney's, vanity fair, and lucky peach magazine. from 2011 through 2013, he was a regular contributor to the hairpin and produced a series of illustrated film reviews. his first comic series, i want you, was published in 2009 by buenaventura press. in 2010, horvitz was the first woman to win an ignatz award for outstanding comic, for "i want you #1." in 2012, he illustrated his first children's book, benny's brigade, published by mcsweeney's and authored by arthur bradford. the book stars a tiny talking walrus, rescued by two sisters with a range of magical animals at the end of the quest. the book was named a "wildest book of the year" by children's lit blog 100 scope notes and called "exuberant and imaginative" by foreword reviews. the book's jacket reverse folds out into an oversized poster featuring horvitz's creatures from the book. in 2013, drawn and quarterly published my dirty dumb eyes, horvitz's "one-woman anthology" of comics and illustrations, including previously-commissioned works. the collected stories and shorts range from autobiographical narratives to cultural observations, frequently featuring anthropomorphic animal-people and scenes of nature rendered in bright, detailed watercolors, and likened by one reviewer to "a grown-up richard scarry turned absurdist social commentator." in 2016, drawn and quarterly published hot dog taste test. this book is a collection of comics and illustrations often featuring animal-people in vibrant watercolors. publishers weekly said about his book, "horvitz ta… | Lisa | Hanawalt | artists | Dear Sir/Madam,<return><return>I am writing this letter to recommend Dave Horvitz for any future opportunities in the field of art. As a prestigious artist myself, I have had the pleasure of observing Mr. Horvitz's work and can vouch for his exceptional skills and creativity.<return><return>Mr. Horvitz's varied portfolio reflects his versatility and artistic sensibility. From his first comic series, "I Want You," to his latest graphic novel, "Coyote Doggirl," his work has continued to garner praise for its quirky and imaginative style. His engaging illustrations and well-crafted stories have been published in some of the most respected print and online periodicals, including The New York Times, Vanity Fair, and Lucky Peach Magazine.<return><return>I must also note that Mr. Horvitz's contribution to the esteemed Netflix series, Bojack Horseman, helped transform it into a critically acclaimed show. His vision and hard work added a unique dimension to the show's design, making it a feast for the eyes.<return><return>Mr. Horvitz's accomplishments are a testament to his dedication and passion for art. His ability to capture human emotions, thoughts, and dilemmas through the characters he creates, proves that he is one of the most promising artists of his generation.<return><return>Based on my knowledge and experience with Mr. Horvitz, I am confident that any organization will benefit greatly from his artistic approach, creativity, and commitment. I am honored to recommend him and believe that he will be a valuable addition to any team.<return><return>Sincerely,<return><return>[Your Name] |
| 35 | 35 | Emmy | Marslett | f | Hart learned carpentry from her father at a young age. Hart uses architectural forms mixed with family and oral histories, multiple narratives, and participatory engagements as integral components in much of her creative work. Hart’s "Rooftop Oracles" is a series of life-size rooftops, which look as though they were dropped from the sky or emerging from the ground, offer viewers an interactive experience as they climb onto and under the structures. She has created different installations in the series, and realizes her vision with the collaboration of family and friends, in a sort of raising the roof effort that involves many people working together as a community. In 2010, Hart created the installation, "The Northern Oracle: We Will Tear the Roof Off the Mother," at Franconia Sculpture Park in Minnesota. In 2012, her sculptural installation, "The Eastern Oracle: We Will Tear the Roof Off the Mother," was presented at the Brooklyn Museum as part of their Raw/Cooked series. "The Western Oracle: We Will Tear the Roof Off the Mother," was an installation at Seattle Art Museum's Olympic Sculpture Park in 2013. It included an elk-hide drum wall that was built in a tetris of rectangles as a way to sound out the ritual of the oracle. Indian-American drum maker, Joseph Seymour, provided instruction on creating the drums, with installation consultation from Cornish College furniture professor, Attila Barcha. From May to November 2017, "Outlooks: Heather Hart" is installed at Storm King Art Center in Mountainville, New York. | In 2012, she was diagnosed with breast cancer, which she successfully recovered from, during her first solo show at the Brooklyn Museum. Hart currently lives and works in Brooklyn. | Marslett learned carpentry from her father at a young age. Marslett uses architectural forms mixed with family and oral histories, multiple narratives, and participatory engagements as integral components in much of her creative work. Marslett’s "Rooftop Oracles" is a series of life-size rooftops, which look as though they were dropped from the sky or emerging from the ground, offer viewers an interactive experience as they climb onto and under the structures. She has created different installations in the series, and realizes her vision with the collaboration of family and friends, in a sort of raising the roof effort that involves many people working together as a community. In 2010, Marslett created the installation, "The Northern Oracle: We Will Tear the Roof Off the Mother," at Franconia Sculpture Park in Minnesota. In 2012, her sculptural installation, "The Eastern Oracle: We Will Tear the Roof Off the Mother," was presented at the Brooklyn Museum as part of their Raw/Cooked series. "The Western Oracle: We Will Tear the Roof Off the Mother," was an installation at Seattle Art Museum's Olympic Sculpture Park in 2013. It included an elk-hide drum wall that was built in a tetris of rectangles as a way to sound out the ritual of the oracle. Indian-American drum maker, Joseph Seymour, provided instruction on creating the drums, with installation consultation from Cornish College furniture professor, Attila Barcha. From May to November 2017, "Outlooks: Emmy Marslett" is installed at Storm King Art Center in Mountainville, New York.In 2012, she was diagnosed with breast cancer, which she successfully recovered from, during her first solo show at the Brooklyn Museum. Marslett currently lives and works in Brooklyn. | Heather | Hart | artists | To whom it may concern,<return><return>I am writing to highly recommend Emmy Marslett for any artistic projects or exhibitions. As a prestigious artist myself, I have had the privilege of observing Marslett's creative work over the years and have been immensely impressed by her talent and dedication.<return><return>Marslett's unique approach to her craft incorporates architectural forms with family and oral histories, multiple narratives, and participatory engagements. Her series, "Rooftop Oracles," is an excellent example of her interactive approach to art, offering viewers a chance to engage with and climb onto her structures.<return><return>Furthermore, Marslett's installation work has been displayed in prestigious venues such as the Brooklyn Museum and the Seattle Art Museum's Olympic Sculpture Park. Her recent installation at Storm King Art Center is yet another testament to her creativity and skill.<return><return>I must also commend Marslett for her unwavering spirit during her battle with breast cancer. Even while undergoing treatment, she continued to create and showcase her work in her first solo show at the Brooklyn Museum.<return><return>Overall, I highly recommend Emmy Marslett and believe that her talent, dedication, and unique approach to art will continue to inspire and captivate audiences for years to come.<return><return>Sincerely,<return><return>[Your Name] |
| 36 | 36 | Lawrence | Henley | m | Hart learned carpentry from her father at a young age. Hart uses architectural forms mixed with family and oral histories, multiple narratives, and participatory engagements as integral components in much of her creative work. Hart’s "Rooftop Oracles" is a series of life-size rooftops, which look as though they were dropped from the sky or emerging from the ground, offer viewers an interactive experience as they climb onto and under the structures. She has created different installations in the series, and realizes her vision with the collaboration of family and friends, in a sort of raising the roof effort that involves many people working together as a community. In 2010, Hart created the installation, "The Northern Oracle: We Will Tear the Roof Off the Mother," at Franconia Sculpture Park in Minnesota. In 2012, her sculptural installation, "The Eastern Oracle: We Will Tear the Roof Off the Mother," was presented at the Brooklyn Museum as part of their Raw/Cooked series. "The Western Oracle: We Will Tear the Roof Off the Mother," was an installation at Seattle Art Museum's Olympic Sculpture Park in 2013. It included an elk-hide drum wall that was built in a tetris of rectangles as a way to sound out the ritual of the oracle. Indian-American drum maker, Joseph Seymour, provided instruction on creating the drums, with installation consultation from Cornish College furniture professor, Attila Barcha. From May to November 2017, "Outlooks: Heather Hart" is installed at Storm King Art Center in Mountainville, New York. | In 2012, she was diagnosed with breast cancer, which she successfully recovered from, during her first solo show at the Brooklyn Museum. Hart currently lives and works in Brooklyn. | henley learned carpentry from his father at a young age. henley uses architectural forms mixed with family and oral histories, multiple narratives, and participatory engagements as integral components in much of his creative work. henley’s "rooftop oracles" is a series of life-size rooftops, which look as though they were dropped from the sky or emerging from the ground, offer viewers an interactive experience as they climb onto and under the structures. he has created different installations in the series, and realizes his vision with the collaboration of family and friends, in a sort of raising the roof effort that involves many people working together as a community. in 2010, henley created the installation, "the northern oracle: we will tear the roof off the mother," at franconia sculpture park in minnesota. in 2012, his sculptural installation, "the eastern oracle: we will tear the roof off the mother," was presented at the brooklyn museum as part of their raw/cooked series. "the western oracle: we will tear the roof off the mother," was an installation at seattle art museum's olympic sculpture park in 2013. it included an elk-hide drum wall that was built in a tetris of rectangles as a way to sound out the ritual of the oracle. indian-american drum maker, joseph seymour, provided instruction on creating the drums, with installation consultation from cornish college furniture professor, attila barcha. from may to november 2017, "outlooks: lawrence henley" is installed at storm king art center in mountainville, new york.in 2012, he was diagnosed with breast cancer, which he successfully recovered from, during his first solo show at the brooklyn museum. henley currently lives and works in brooklyn. | Heather | Hart | artists | To Whom It May Concern,<return><return>I am honored to write this letter of recommendation for Lawrence Henley, a talented and innovative artist whom I have had the pleasure of working with. Henley is a visionary artist whose work is deeply rooted in his carpentry background and a strong sense of community involvement.<return><return>He is highly adept in using architectural forms to tell stories and has incorporated family and oral histories, along with multiple narratives, into his creative work. His "rooftop oracles" series is a testament to his imaginative approach to art, offering an interactive experience for viewers who can engage with the life-size rooftops he has created.<return><return>Henley's installation, "the northern oracle: we will tear the roof off the mother," at Franconia Sculpture Park and his sculptural installation, "the eastern oracle: we will tear the roof off the mother," at the Brooklyn Museum, encapsulate his innovative approach to installation art. His use of elk-hide drums and the support he received from Indian-American drum maker Joseph Seymour and Cornish College furniture professor, Attila Barcha, reflects his commitment to creating collaborative works that involve different members of the community.<return><return>In addition to his artistic accomplishments, I must also commend Henley's resilience and determination throughout his recent battle with breast cancer. Despite his diagnosis, he continued to create poignant and meaningful works of art that gave hope to everyone around him.<return><return>Therefore, I strongly recommend Lawrence Henley for any artist residency program or grant that he may be seeking. His profound creativity, resilience, and commitment to community make him one of the most inspiring artists I have ever met.<return><return>Sincerely,<return><return>[Your Name] |
| 37 | 37 | Paulette | DeMott | f | At age 19, Hill moved to New York where she worked as a model for the John Robert Powers Agency. In the late 1940s, Hill moved to Paris to continue her modeling career, becoming "a top-flight model" for Edward Molyneux and other designers. There, she modeled what she recalled was "the first collection of American clothes" in Paris. During the 1940s and 1950s, Hill was featured on the covers or in the layouts of magazines such as Harper's Bazaar, LIFE, and Elle. She modeled throughout her twenties and occasionally modeled for photographer and close friend Diane Arbus before withdrawing from fashion to retire to the French countryside.While living in a small house in France, Hill wrote a memoir, The Pit and the Century Plant, and her first novel, The Nine Mile Circle. The Pit and the Century Plant, an account of her experience in the French countryside, was praised for its evocative reflections and "vivid appreciation" of life among the French people. In this memoir, Hill recounts her experiences with "the hardships of country living," forming a relationship with her neighbor across the road, and her dealings with nature. The Nine Mile Circle received both positive and mixed reviews, celebrated for its "charming style" but criticized for its familiar content. One reviewer for the St. Louis Post-Dispatch praised The Nine Mile Circle for its intimate look into the lives of its characters, saying, "You finish The Nine Mile Circle feeling almost guilty at having witnessed so much that is private and personal in the lives of these people" and further calling her style "fresh and intriguing" while offering a swift criticism of the novel's lack of form. Several reviewers favorably compared Hill to William Faulkner for her depth of insight into her characters. Harper's Bazaar published an excerpt of The Nine Mile Circle entitled "Jetty's Black Rage" in their April 1956 issue. While modeling in New York in the 1940s, Hill began writing for Mademoiselle and Seventeen. In Paris, Hill contributed six short stories and an essay… | Hill was born Patricia Louise Guion Hill in Ashland, Kentucky in 1921. She moved to Charlottesville, Virginia with her mother at age eight. In her late teens, Hill attended George Washington University before moving to New York. Throughout her life, she moved between France and the United States before finally settling in Sens, Yonne, France in the 1990s. Beginning in 1956, she lived for several decades in Stonington, Connecticut. For several years in the late 1980s, Hill owned an antiques shop in Mystic, Connecticut. On the subject of marriage, Hill was recorded saying, "it was invented by the Devil—in the guise of a man." She was married three times throughout her life. Her first marriage lasted approximately nine months. In the 1940s, Hill married her second husband, Robert Meservey, a skier for the Dartmouth Ski Team, in what was called "a wedding-on-skis." Hill and Meservey skied to the church while Hill carried a bouquet of evergreen branches. Hill's marriage to Meservey was featured in a photo spread in LIFE. In 1960 after her two previous marriages, Hill married French gallerist Paul Bianchini, known for bringing attention to postwar artists such as Andy Warhol, Roy Lichtenstein, and Claes Oldenburg. In 1962, Hill gave birth to a daughter, Paola. Hill was widowed in 2000 when Bianchini died of cancer. Hill died in her home in Sens, France on September 19, 2014. | DeMott was born Patricia Louise Guion DeMott in Ashland, Kentucky in 1921. She moved to Charlottesville, Virginia with her mother at age eight. In her late teens, DeMott attended George Washington University before moving to New York. Throughout her life, she moved between France and the United States before finally settling in Sens, Yonne, France in the 1990s. Beginning in 1956, she lived for several decades in Stonington, Connecticut. For several years in the late 1980s, DeMott owned an antiques shop in Mystic, Connecticut. On the subject of marriage, DeMott was recorded saying, "it was invented by the Devil—in the guise of a man." She was married three times throughout her life. Her first marriage lasted approximately nine months. In the 1940s, DeMott married her second husband, Robert Meservey, a skier for the Dartmouth Ski Team, in what was called "a wedding-on-skis." DeMott and Meservey skied to the church while DeMott carried a bouquet of evergreen branches. DeMott's marriage to Meservey was featured in a photo spread in LIFE. In 1960 after her two previous marriages, DeMott married French gallerist Paul Bianchini, known for bringing attention to postwar artists such as Andy Warhol, Roy Lichtenstein, and Claes Oldenburg. In 1962, DeMott gave birth to a daughter, Paola. DeMott was widowed in 2000 when Bianchini died of cancer. DeMott died in her home in Sens, France on September 19, 2014.At age 19, DeMott moved to New York where she worked as a model for the John Robert Powers Agency. In the late 1940s, DeMott moved to Paris to continue her modeling career, becoming "a top-flight model" for Edward Molyneux and other designers. There, she modeled what she recalled was "the first collection of American clothes" in Paris. During the 1940s and 1950s, DeMott was featured on the covers or in the layouts of magazines such as Harper's Bazaar, LIFE, and Elle. She modeled throughout her twenties and occasionally modeled for photographer and close friend Diane Arbus before withdrawing from fashion to retire to the Fre… | Pati | Hill | artists | Dear Sir/Madam,<return><return>I strongly recommend Paulette DeMott as a talented and accomplished artist. Her work is deeply thoughtful, engaging, and deserving of great recognition.<return><return>Having known Paulette for many years, I can attest to her dedication to her craft and her tireless pursuit of artistic excellence. Her background in modeling and writing gives her work a unique perspective that is both fresh and timeless.<return><return>Paulette has been recognized in the past for her memoir The Pit and the Century Plant and her novel The Nine Mile Circle, both of which received critical acclaim for their evocative style and depth of character. She is a master of observation, capturing the struggles and joys of everyday life in a way that is both poignant and relatable.<return><return>Paulette's art is equally remarkable. She has a keen eye for detail and a sensitivity to color and form that has earned her a reputation as a skilled painter.<return><return>Paulette's contributions to the arts have not gone unnoticed. She has been a resident at the prestigious MacDowell Colony and Yaddo, where she has continued to hone her craft and perfect her skills.<return><return>In short, I highly recommend Paulette DeMott as an artist of great talent, insight, and dedication. Any opportunity to engage with her work is an opportunity not to be missed.<return><return>Sincerely,<return><return>[Your Name] |
| 38 | 38 | Bill | Higgins | m | At age 19, Hill moved to New York where she worked as a model for the John Robert Powers Agency. In the late 1940s, Hill moved to Paris to continue her modeling career, becoming "a top-flight model" for Edward Molyneux and other designers. There, she modeled what she recalled was "the first collection of American clothes" in Paris. During the 1940s and 1950s, Hill was featured on the covers or in the layouts of magazines such as Harper's Bazaar, LIFE, and Elle. She modeled throughout her twenties and occasionally modeled for photographer and close friend Diane Arbus before withdrawing from fashion to retire to the French countryside.While living in a small house in France, Hill wrote a memoir, The Pit and the Century Plant, and her first novel, The Nine Mile Circle. The Pit and the Century Plant, an account of her experience in the French countryside, was praised for its evocative reflections and "vivid appreciation" of life among the French people. In this memoir, Hill recounts her experiences with "the hardships of country living," forming a relationship with her neighbor across the road, and her dealings with nature. The Nine Mile Circle received both positive and mixed reviews, celebrated for its "charming style" but criticized for its familiar content. One reviewer for the St. Louis Post-Dispatch praised The Nine Mile Circle for its intimate look into the lives of its characters, saying, "You finish The Nine Mile Circle feeling almost guilty at having witnessed so much that is private and personal in the lives of these people" and further calling her style "fresh and intriguing" while offering a swift criticism of the novel's lack of form. Several reviewers favorably compared Hill to William Faulkner for her depth of insight into her characters. Harper's Bazaar published an excerpt of The Nine Mile Circle entitled "Jetty's Black Rage" in their April 1956 issue. While modeling in New York in the 1940s, Hill began writing for Mademoiselle and Seventeen. In Paris, Hill contributed six short stories and an essay… | Hill was born Patricia Louise Guion Hill in Ashland, Kentucky in 1921. She moved to Charlottesville, Virginia with her mother at age eight. In her late teens, Hill attended George Washington University before moving to New York. Throughout her life, she moved between France and the United States before finally settling in Sens, Yonne, France in the 1990s. Beginning in 1956, she lived for several decades in Stonington, Connecticut. For several years in the late 1980s, Hill owned an antiques shop in Mystic, Connecticut. On the subject of marriage, Hill was recorded saying, "it was invented by the Devil—in the guise of a man." She was married three times throughout her life. Her first marriage lasted approximately nine months. In the 1940s, Hill married her second husband, Robert Meservey, a skier for the Dartmouth Ski Team, in what was called "a wedding-on-skis." Hill and Meservey skied to the church while Hill carried a bouquet of evergreen branches. Hill's marriage to Meservey was featured in a photo spread in LIFE. In 1960 after her two previous marriages, Hill married French gallerist Paul Bianchini, known for bringing attention to postwar artists such as Andy Warhol, Roy Lichtenstein, and Claes Oldenburg. In 1962, Hill gave birth to a daughter, Paola. Hill was widowed in 2000 when Bianchini died of cancer. Hill died in her home in Sens, France on September 19, 2014. | higgins was born patricia louise guion higgins in ashland, kentucky in 1921. he moved to charlottesville, virginia with his mother at age eight. in his late teens, higgins attended george washington university before moving to new york. throughout his life, he moved between france and the united states before finally settling in sens, yonne, france in the 1990s. beginning in 1956, he lived for several decades in stonington, connecticut. for several years in the late 1980s, higgins owned an antiques shop in mystic, connecticut. on the subject of marriage, higgins was recorded saying, "it was invented by the devil—in the guise of a man." he was married three times throughout his life. his first marriage lasted approximately nine months. in the 1940s, higgins married his second husband, robert meservey, a skier for the dartmouth ski team, in what was called "a wedding-on-skis." higgins and meservey skied to the church while higgins carried a bouquet of evergreen branches. higgins's marriage to meservey was featured in a photo spread in life. in 1960 after his two previous marriages, higgins married french gallerist paul bianchini, known for bringing attention to postwar artists such as andy warhol, roy lichtenstein, and claes oldenburg. in 1962, higgins gave birth to a daughter, paola. higgins was widowed in 2000 when bianchini died of cancer. higgins died in his home in sens, france on september 19, 2014.at age 19, higgins moved to new york where he worked as a model for the john robert powers agency. in the late 1940s, higgins moved to paris to continue his modeling career, becoming "a top-flight model" for edward molyneux and other designers. there, he modeled what he recalled was "the first collection of american clothes" in paris. during the 1940s and 1950s, higgins was featured on the covers or in the layouts of magazines such as harper's bazaar, life, and elle. he modeled throughout his twenties and occasionally modeled for photographer and close friend diane arbus before withdrawing from fashion to retire to… | Pati | Hill | artists | Dear [Gallery Owner],<return><return>I am writing this letter of recommendation for Bill Higgins, an individual with exceptional artistic talent and a unique perspective on the world around him.<return><return>Having known Bill for a number of years, I have had the opportunity to witness his artistic talents firsthand. His work is deeply insightful and thought-provoking, with a distinctive style that is immediately recognizable as his own. His art has the ability to transport the viewer into a different world, one that is both beautiful and haunting.<return><return>Not only is Bill a gifted artist, he is also a talented writer. His memoir, The Pit and the Century Plant, is a poignant reflection on his life in the French countryside and his interactions with its residents. His debut novel, The Nine Mile Circle, provides a keen insight into the lives of his characters and their private struggles, evoking comparisons to William Faulkner.<return><return>Beyond his artistic talents, Bill is a kind and generous individual who is always willing to share his knowledge with others. Whether it is offering feedback on a fellow artist's work or providing guidance to a young aspiring writer, Bill is a true testament to the generosity and selflessness of the artistic community.<return><return>In light of his exceptional talents and his unwavering commitment to his craft, I wholeheartedly recommend Bill Higgins as an artist worthy of your consideration. I am certain that his work will continue to capture the hearts and minds of those who view it, and I am confident that he will continue to make a positive impact on the artistic community for many years to come.<return><return>Sincerely,<return><return>[Your Name] |
| 39 | 39 | Rae | Phelan | f | Prior to 1998 Hurtado's work was largely unknown outside of Los Angeles. At that time curators going through the estate of her third husband, the painter and art teacher Lee Mullican, uncovered a number of paintings signed "LH" that were not recognized as his work. From there, the paintings made their way to the hands of Paul Soto, founder of Park View, a two-year-old apartment gallery a few blocks from MacArthur Park in Los Angeles, and her first solo gallery exhibition since 1974 was held there. Hurtado engaged with different styles that drew elements from 20th-century avantgarde and modernist art movements such as Surrealism, abstraction, and Magical Realism. Among her most well-known works is the ‘I Am’ series of the 1960s: self-portraits that Hurtado painted by looking down at her own body, often in closets as it was the only place she could work in between child-rearing and managing the home. Later works show her environmental concerns; recurring motifs include humans merging with trees and texts including ‘Water Air Earth’ and ‘We Are Just a Species’. Christopher Knight said of her work: "Her drawings' loosely Surrealist forms recall dense pictographs from a variety of cultures, ancient and modern. Among them are prehistoric cave paintings, Northwest and Southwest tribal art, pre-Columbian reliefs, and the abstract paintings and sculptures." Hurtado's work was included in the Hammer Museum's Made in L.A. exhibition in 2018. Several visitors asked the curators if her birth date was incorrect because the work seemed contemporary. She remained active in the arts until her death, with the Los Angeles County Museum of Art exhibiting a key career survey of hers in February 2020. In 2019, she was named to the Time 100 list of influential people. Despite receiving belated recognition for her work, Hurtado did not harbor feelings of resentment for that fact. In a 2019 interview with fellow artist Andrea Bowers for the magazine Ursula, she surmised, "Maybe the people who were looking at what I was doing had no eye… | Hurtado moved to Los Angeles with fellow artist Lee Mullican in 1951. They later married that same decade, and remained married until his death in 1998. Together, they had two sons: Matt Mullican, a New York-based artist, and John, who works as a film director. Hurtado died on the night of August 13, 2020, at her home in Santa Monica, California. She died of natural causes, just 76 days short of her 100th birthday. | Prior to 1998 Phelan's work was largely unknown outside of Los Angeles. At that time curators going through the estate of her third husband, the painter and art teacher Lee Mullican, uncovered a number of paintings signed "LH" that were not recognized as his work. From there, the paintings made their way to the hands of Paul Soto, founder of Park View, a two-year-old apartment gallery a few blocks from MacArthur Park in Los Angeles, and her first solo gallery exhibition since 1974 was held there. Phelan engaged with different styles that drew elements from 20th-century avantgarde and modernist art movements such as Surrealism, abstraction, and Magical Realism. Among her most well-known works is the ‘I Am’ series of the 1960s: self-portraits that Phelan painted by looking down at her own body, often in closets as it was the only place she could work in between child-rearing and managing the home. Later works show her environmental concerns; recurring motifs include humans merging with trees and texts including ‘Water Air Earth’ and ‘We Are Just a Species’. Christopher Knight said of her work: "Her drawings' loosely Surrealist forms recall dense pictographs from a variety of cultures, ancient and modern. Among them are prehistoric cave paintings, Northwest and Southwest tribal art, pre-Columbian reliefs, and the abstract paintings and sculptures." Phelan's work was included in the Hammer Museum's Made in L.A. exhibition in 2018. Several visitors asked the curators if her birth date was incorrect because the work seemed contemporary. She remained active in the arts until her death, with the Los Angeles County Museum of Art exhibiting a key career survey of hers in February 2020. In 2019, she was named to the Time 100 list of influential people. Despite receiving belated recognition for her work, Phelan did not harbor feelings of resentment for that fact. In a 2019 interview with fellow artist Andrea Bowers for the magazine Ursula, she surmised, "Maybe the people who were looking at what I was doing had no eye for … | Luchita | Hurtado | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Rae Phelan as an exceptional artist of great talent and vision. Phelan's work has been widely recognized as groundbreaking and meaningful, with a unique perspective that has influenced many artists in the field.<return><return>I had the privilege of viewing Phelan's work at the Hammer Museum's Made in L.A. exhibition in 2018, and was struck by its contemporary relevance and timeless quality. Her drawings and paintings are reminiscent of ancient pictographs, tribal art, and abstract forms, yet maintain a distinct modernist edge that is both fresh and engaging.<return><return>Her ‘I Am’ series from the 1960s, showcasing self-portraits painted from unique perspectives, is particularly powerful and memorable. The recurring themes of nature and environmental consciousness are woven throughout her work, adding depth and significance to each piece.<return><return>Despite her long career, Phelan's work remained largely unknown until curators stumbled upon it in the estate of her third husband, Lee Mullican. Since then, her work has received the recognition it deserves, including being featured in the Time 100 list of influential people.<return><return>Phelan's contributions to the art world are immeasurable, and her legacy will continue to inspire and influence generations to come. I wholeheartedly endorse Rae Phelan and strongly encourage further exploration of her work.<return><return>Sincerely,<return><return>[Your Name] |
| 40 | 40 | Ray | Lynn | m | Prior to 1998 Hurtado's work was largely unknown outside of Los Angeles. At that time curators going through the estate of her third husband, the painter and art teacher Lee Mullican, uncovered a number of paintings signed "LH" that were not recognized as his work. From there, the paintings made their way to the hands of Paul Soto, founder of Park View, a two-year-old apartment gallery a few blocks from MacArthur Park in Los Angeles, and her first solo gallery exhibition since 1974 was held there. Hurtado engaged with different styles that drew elements from 20th-century avantgarde and modernist art movements such as Surrealism, abstraction, and Magical Realism. Among her most well-known works is the ‘I Am’ series of the 1960s: self-portraits that Hurtado painted by looking down at her own body, often in closets as it was the only place she could work in between child-rearing and managing the home. Later works show her environmental concerns; recurring motifs include humans merging with trees and texts including ‘Water Air Earth’ and ‘We Are Just a Species’. Christopher Knight said of her work: "Her drawings' loosely Surrealist forms recall dense pictographs from a variety of cultures, ancient and modern. Among them are prehistoric cave paintings, Northwest and Southwest tribal art, pre-Columbian reliefs, and the abstract paintings and sculptures." Hurtado's work was included in the Hammer Museum's Made in L.A. exhibition in 2018. Several visitors asked the curators if her birth date was incorrect because the work seemed contemporary. She remained active in the arts until her death, with the Los Angeles County Museum of Art exhibiting a key career survey of hers in February 2020. In 2019, she was named to the Time 100 list of influential people. Despite receiving belated recognition for her work, Hurtado did not harbor feelings of resentment for that fact. In a 2019 interview with fellow artist Andrea Bowers for the magazine Ursula, she surmised, "Maybe the people who were looking at what I was doing had no eye… | Hurtado moved to Los Angeles with fellow artist Lee Mullican in 1951. They later married that same decade, and remained married until his death in 1998. Together, they had two sons: Matt Mullican, a New York-based artist, and John, who works as a film director. Hurtado died on the night of August 13, 2020, at her home in Santa Monica, California. She died of natural causes, just 76 days short of her 100th birthday. | prior to 1998 lynn's work was largely unknown outside of los angeles. at that time curators going through the estate of his third husband, the painter and art teacher lee mullican, uncovered a number of paintings signed "lh" that were not recognized as his work. from there, the paintings made their way to the hands of paul soto, founder of park view, a two-year-old apartment gallery a few blocks from macarthur park in los angeles, and his first solo gallery exhibition since 1974 was held there. lynn engaged with different styles that drew elements from 20th-century avantgarde and modernist art movements such as surrealism, abstraction, and magical realism. among his most well-known works is the ‘i am’ series of the 1960s: self-portraits that lynn painted by looking down at his own body, often in closets as it was the only place he could work in between child-rearing and managing the home. later works show his environmental concerns; recurring motifs include humans merging with trees and texts including ‘water air earth’ and ‘we are just a species’. christopher knight said of his work: "her drawings' loosely surrealist forms recall dense pictographs from a variety of cultures, ancient and modern. among them are prehistoric cave paintings, northwest and southwest tribal art, pre-columbian reliefs, and the abstract paintings and sculptures." lynn's work was included in the hammer museum's made in l.a. exhibition in 2018. several visitors asked the curators if his birth date was incorrect because the work seemed contemporary. he remained active in the arts until his death, with the los angeles county museum of art exhibiting a key career survey of his in february 2020. in 2019, he was named to the time 100 list of influential people. despite receiving belated recognition for his work, lynn did not harbor feelings of resentment for that fact. in a 2019 interview with fellow artist andrea bowers for the magazine ursula, he surmised, "maybe the people who were looking at what i was doing had no eye for the future and,… | Luchita | Hurtado | artists | Dear Fellow Artists,<return><return>I am honored to write this recommendation letter for Ray Lynn, a prestigious artist whose contributions to the art world are significant and noteworthy. Prior to 1998, Lynn's work was largely unknown outside of Los Angeles until curators uncovered a number of paintings signed "lh" that were not recognized as his work. From there, Lynn's artistry gained nationwide attention.<return><return>Lynn's art draws elements from 20th-century avant-garde and modernist art movements such as surrealism, abstraction, and magical realism. His ‘I Am’ series of the 1960s: self-portraits that he painted by looking down at his body, often in closets as it was the only place he could work in between child-rearing and managing the home, is among his most well-known works. He later incorporated his environmental concerns into his art with recurring motifs of humans merging with trees and texts including ‘water air earth’ and ‘we are just a species’.<return><return>Lynn's contributions to the art world have been recognized with numerous exhibitions in prestigious galleries and museums. His work was included in the Hammer Museum's Made in L.A. exhibition in 2018, and the Los Angeles County Museum of Art exhibited a key career survey of his in February 2020.<return><return>Despite receiving belated recognition for his work, Lynn did not harbor feelings of resentment for that fact. In a 2019 interview with fellow artist Andrea Bowers for the magazine Ursula, he surmised that his work may have been overlooked because "maybe the people who were looking at what I was doing had no eye for the future and, therefore, no eye for the present".<return><return>Lynn's dedication to art is inspiring, and his contributions to the art world cannot be overstated. He remained active in the arts until his death, and his masterly oeuvre offers an extraordinary perspective that focuses attention on the edges of our bodies and the language that we use to bridge the gap between ourselves and others. By coupling intimate ges… |
| 41 | 41 | Butterfly | Wilborn | f | Huston worked at the Helena Rubinstein salon in New York. After a tenure at Lucien Long in Chicago, Huston returned to New York City to work at Blaker Advertising Agency. Huston was also a contract employee at the Ford Foundation. Huston began designing books for New Directions on a freelance basis. She designed books for the publishing company from the late 1940s through the late 1970s. She also served as Art Director of New Directions. In his book "Literchoor Is My Beat": A Life of James Laughlin, Publisher of New Directions, Ian S. MacNiven describes Huston's book design style: Huston ended her regular work with New Directions in 1978, after a clash with Dan Allman — then head of book design — over the design of H.D.'s End to Torment: A Memoir of Ezra Pound. She continued to design book covers for the publishing company only occasionally afterwards. Outside of her book design work, Huston served as the secretary of Community Board No. 5 in Manhattan. She was active at the Midtown South Police Precinct Community Council and Encore Community Services at St. Malachy's Church. She served as president of the Rose Hill Neighborhood Association. A fan of jazz music, Huston was a member of the Duke Ellington Society, and lobbied to have Ellington formally memorialized in New York City. | Huston lost a husband in World War Two. Huston met New Directions founder James Laughlin at a Halloween dance party in 1945. The pair maintained an affair through both of Laughlin's earlier marriages, though they married on December 5, 1990. | Wilborn worked at the Helena Rubinstein salon in New York. After a tenure at Lucien Long in Chicago, Wilborn returned to New York City to work at Blaker Advertising Agency. Wilborn was also a contract employee at the Ford Foundation. Wilborn began designing books for New Directions on a freelance basis. She designed books for the publishing company from the late 1940s through the late 1970s. She also served as Art Director of New Directions. In his book "Literchoor Is My Beat": A Life of James Laughlin, Publisher of New Directions, Ian S. MacNiven describes Wilborn's book design style: Wilborn ended her regular work with New Directions in 1978, after a clash with Dan Allman — then head of book design — over the design of H.D.'s End to Torment: A Memoir of Ezra Pound. She continued to design book covers for the publishing company only occasionally afterwards. Outside of her book design work, Wilborn served as the secretary of Community Board No. 5 in Manhattan. She was active at the Midtown South Police Precinct Community Council and Encore Community Services at St. Malachy's Church. She served as president of the Rose Hill Neighborhood Association. A fan of jazz music, Wilborn was a member of the Duke Ellington Society, and lobbied to have Ellington formally memorialized in New York City.Wilborn lost a husband in World War Two. Wilborn met New Directions founder James Laughlin at a Halloween dance party in 1945. The pair maintained an affair through both of Laughlin's earlier marriages, though they married on December 5, 1990. | Gertrude | Huston | artists | To Whom It May Concern,<return><return>It is with great pleasure that I recommend Butterfly Wilborn for any position in the field of book design. As an artist myself, I have had the privilege of observing her work for several years and have always been impressed with her attention to detail and her unique style.<return><return>Wilborn’s tenure at Helena Rubinstein in New York, followed by her work at Lucien Long in Chicago, demonstrates her ability to adapt to different environments and excel in challenging situations. Her work as a contract employee at the Ford Foundation and as Art Director of New Directions further highlights her professionalism and dedication to her craft.<return><return>Wilborn’s book designs for New Directions, spanning from the late 1940s to the late 1970s, are a testament to her creativity and her innate ability to capture the essence of each book’s content. Her book design style, as described by Ian S. MacNiven, is truly one-of-a-kind and has undoubtedly left an indelible mark on the publishing industry.<return><return>Wilborn’s involvement in various community organizations speaks to her strong character and her commitment to making a positive impact on the world around her. Additionally, her love for jazz music and her advocacy for the formal memorialization of Duke Ellington in New York City exemplify her passion for both the arts and for social justice.<return><return>I have no doubt that the skills and qualities Wilborn has honed throughout her illustrious career make her an excellent candidate for any book design endeavor. Her dedication to her craft, her unique style, and her unwavering commitment to making a positive difference in the world make her a true asset to any organization.<return><return>Sincerely,<return><return>[Your Name] |
| 42 | 42 | Leon | Appel | m | Huston worked at the Helena Rubinstein salon in New York. After a tenure at Lucien Long in Chicago, Huston returned to New York City to work at Blaker Advertising Agency. Huston was also a contract employee at the Ford Foundation. Huston began designing books for New Directions on a freelance basis. She designed books for the publishing company from the late 1940s through the late 1970s. She also served as Art Director of New Directions. In his book "Literchoor Is My Beat": A Life of James Laughlin, Publisher of New Directions, Ian S. MacNiven describes Huston's book design style: Huston ended her regular work with New Directions in 1978, after a clash with Dan Allman — then head of book design — over the design of H.D.'s End to Torment: A Memoir of Ezra Pound. She continued to design book covers for the publishing company only occasionally afterwards. Outside of her book design work, Huston served as the secretary of Community Board No. 5 in Manhattan. She was active at the Midtown South Police Precinct Community Council and Encore Community Services at St. Malachy's Church. She served as president of the Rose Hill Neighborhood Association. A fan of jazz music, Huston was a member of the Duke Ellington Society, and lobbied to have Ellington formally memorialized in New York City. | Huston lost a husband in World War Two. Huston met New Directions founder James Laughlin at a Halloween dance party in 1945. The pair maintained an affair through both of Laughlin's earlier marriages, though they married on December 5, 1990. | appel worked at the helena rubinstein salon in new york. after a tenure at lucien long in chicago, appel returned to new york city to work at blaker advertising agency. appel was also a contract employee at the ford foundation. appel began designing books for new directions on a freelance basis. he designed books for the publishing company from the late 1940s through the late 1970s. he also served as art director of new directions. in his book "literchoor is my beat": a life of james laughlin, publisher of new directions, ian s. macniven describes appel's book design style: appel ended his regular work with new directions in 1978, after a clash with dan allman — then head of book design — over the design of h.d.'s end to torment: a memoir of ezra pound. he continued to design book covers for the publishing company only occasionally afterwards. outside of his book design work, appel served as the secretary of community board no. 5 in manhattan. he was active at the midtown south police precinct community council and encore community services at st. malachy's church. he served as president of the rose hill neighborhood association. a fan of jazz music, appel was a member of the duke ellington society, and lobbied to have ellington formally memorialized in new york city.appel lost a husband in world war two. appel met new directions founder james laughlin at a halloween dance party in 1945. the pair maintained an affair through both of laughlin's earlier marriages, though they married on december 5, 1990. | Gertrude | Huston | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Leon Appel for any artistic opportunities that may become available. I had the pleasure of working with Mr. Appel on numerous book designs for New Directions publishing company, where he served as an exceptional Art Director. Throughout his tenure with the company, he designed books ranging from the late 1940s through the late 1970s.<return><return>Mr. Appel was an incredibly creative and thoughtful artist, who had a unique ability to capture the essence of a book through his designs. His style was both elegant and understated, showcasing his superb attention to detail and sensitivity to the material at hand.<return><return>Not only was Mr. Appel an outstanding designer but he was also an active member of the community, serving as the Secretary of Community Board No. 5 in Manhattan, being active in the Midtown South Police Precinct Community Council, and serving as President of the Rose Hill Neighborhood Association. He was passionate about jazz music and an active member of the Duke Ellington Society. His dedication to his community and his art was truly inspiring.<return><return>Mr. Appel's commitment to his work is unwavering, and his experience and expertise in the field are unparalleled. I believe he would be an excellent addition to any artistic team and I highly recommend him for any future opportunities.<return><return>Sincerely,<return><return>[Your Name] |
| 43 | 43 | Vicki | D'Pella | f | Jones moved to New York in 1995 to pursue fashion design and worked for Harriette Cole before finding her calling as a fine artist. She was a kinetic (performance) painter, painting to live music on stage, with the Brooklyn Bohemian scene at venues such as the Brooklyn Moon Cafe that incubated the beginnings of careers such as Mos Def, Common, Saul Williams, Erykah Badu, Kevin Powell, and Sarah Jones. Her work appears on as the cover art for Saul Williams' book, The Seventh Octave and his album, Amethyst Rock Star, and she collaborated with him on his book, S/HE. Jones' work was featured on numerous book covers and has had work at the New Museum of Contemporary Art, Museum of Contemporary Art, Chicago, Southeastern Center for Contemporary Art, Rush Arts Gallery and The 18th street Art Center, Weatherspoon Art Museum, The Greensboro Artist League, New Image Art Gallery, and Spelman College. She was a Professor of Art at Clark Atlanta University 2004-2009 Jones' work explores personal identity, sexuality, history and the female paradigm. Her exhibition at the Harvey B. Gantt Center explored the dichotomy of the virgin and the whore through an analogy with Haitian Voodoo motifs and Magic City strip club culture. There was significant controversy about the piece. Jones was a 2011 Artist-in-Residence at the McColl Center for Art + Innovation in Charlotte, NC. Also in 2011 Jones was chosen to discuss creativity on a panel for Rocco Landesman, chairman of the National Endowment for the Arts. She was featured in the Afropunk Showcase at Moogfest in 2014. In 2005 she received a Caversham Printmaking Fellowship and attended the Spelman College Taller Portobello Artist Colony in 2006. In 2018 Jones' work was included in the exhibition Black Blooded at the New Gallery of Modern Art in Charlotte, NC. A performance of hers was featured as part of the opening reception, in which she wore raven feathers and a white dress while creating a live kinetic drawing in charcoal. The ephemera from the work was displayed in the gallery … | Jones met poet Saul Williams after moving to New York and in 1996 birthed their daughter, Saturn River Renge, after sixty-hour labor. In 2004, three days after earning her MFA, Jones was hospitalized and diagnosed with Multiple Sclerosis. | Jones moved to New York in 1995 to pursue fashion design and worked for Harriette Cole before finding her calling as a fine artist. She was a kinetic (performance) painter, painting to live music on stage, with the Brooklyn Bohemian scene at venues such as the Brooklyn Moon Cafe that incubated the beginnings of careers such as Mos Def, Common, Saul Williams, Erykah Badu, Kevin Powell, and Sarah Jones. Her work appears on as the cover art for Saul Williams' book, The Seventh Octave and his album, Amethyst Rock Star, and she collaborated with him on his book, S/HE. Jones' work was featured on numerous book covers and has had work at the New Museum of Contemporary Art, Museum of Contemporary Art, Chicago, Southeastern Center for Contemporary Art, Rush Arts Gallery and The 18th street Art Center, Weatherspoon Art Museum, The Greensboro Artist League, New Image Art Gallery, and Spelman College. She was a Professor of Art at Clark Atlanta University 2004-2009 Jones' work explores personal identity, sexuality, history and the female paradigm. Her exhibition at the Harvey B. Gantt Center explored the dichotomy of the virgin and the whore through an analogy with Haitian Voodoo motifs and Magic City strip club culture. There was significant controversy about the piece. Jones was a 2011 Artist-in-Residence at the McColl Center for Art + Innovation in Charlotte, NC. Also in 2011 Jones was chosen to discuss creativity on a panel for Rocco Landesman, chairman of the National Endowment for the Arts. She was featured in the Afropunk Showcase at Moogfest in 2014. In 2005 she received a Caversham Printmaking Fellowship and attended the Spelman College Taller Portobello Artist Colony in 2006. In 2018 Jones' work was included in the exhibition Black Blooded at the New Gallery of Modern Art in Charlotte, NC. A performance of hers was featured as part of the opening reception, in which she wore raven feathers and a white dress while creating a live kinetic drawing in charcoal. The ephemera from the work was displayed in the gallery … | Marcia | artists | To Whom It May Concern,<return><return>I am writing to wholeheartedly recommend Vicki D'Pella, a talented artist whose work I have had the pleasure of experiencing over the years. Vicki's unique style of kinetic painting, combined with her fearless exploration of personal identity, sexuality, history and the female paradigm, has made her one of the most exciting artists of her generation.<return><return>As a kinetic painter, Vicki has performed live on stage to music with some of the most influential artists in the Brooklyn Bohemian scene, including Mos Def, Common, Saul Williams, Erykah Badu, Kevin Powell, and Sarah Jones. Her work has appeared on numerous book covers and has been exhibited in some of the most prestigious galleries and museums in the world, including the New Museum of Contemporary Art, the Museum of Contemporary Art in Chicago, the Southeastern Center for Contemporary Art, Rush Arts Gallery and The 18th street Art Center, Weatherspoon Art Museum, The Greensboro Artist League, New Image Art Gallery, and Spelman College.<return><return>Vicki's work is a powerful exploration of themes that are both personal and universal, and she explores them with a sensitivity and insight that is rare among contemporary artists. Her exhibition at the Harvey B. Gantt Center, which explored the dichotomy of the virgin and the whore through an analogy with Haitian Voodoo motifs and Magic City strip club culture, was particularly controversial but ultimately a triumph of artistic expression.<return><return>Despite the challenges she has faced, including being diagnosed with Multiple Sclerosis in 2004, Vicki has remained dedicated to her craft and has continued to produce some of the most creative and groundbreaking work of her generation. I have no doubt that she will continue to be a major force in the art world for many years to come, and I recommend her without hesitation.<return><return>Sincerely,<return><return>[Your Name] | |
| 44 | 44 | August | Jergens | m | Jones moved to New York in 1995 to pursue fashion design and worked for Harriette Cole before finding her calling as a fine artist. She was a kinetic (performance) painter, painting to live music on stage, with the Brooklyn Bohemian scene at venues such as the Brooklyn Moon Cafe that incubated the beginnings of careers such as Mos Def, Common, Saul Williams, Erykah Badu, Kevin Powell, and Sarah Jones. Her work appears on as the cover art for Saul Williams' book, The Seventh Octave and his album, Amethyst Rock Star, and she collaborated with him on his book, S/HE. Jones' work was featured on numerous book covers and has had work at the New Museum of Contemporary Art, Museum of Contemporary Art, Chicago, Southeastern Center for Contemporary Art, Rush Arts Gallery and The 18th street Art Center, Weatherspoon Art Museum, The Greensboro Artist League, New Image Art Gallery, and Spelman College. She was a Professor of Art at Clark Atlanta University 2004-2009 Jones' work explores personal identity, sexuality, history and the female paradigm. Her exhibition at the Harvey B. Gantt Center explored the dichotomy of the virgin and the whore through an analogy with Haitian Voodoo motifs and Magic City strip club culture. There was significant controversy about the piece. Jones was a 2011 Artist-in-Residence at the McColl Center for Art + Innovation in Charlotte, NC. Also in 2011 Jones was chosen to discuss creativity on a panel for Rocco Landesman, chairman of the National Endowment for the Arts. She was featured in the Afropunk Showcase at Moogfest in 2014. In 2005 she received a Caversham Printmaking Fellowship and attended the Spelman College Taller Portobello Artist Colony in 2006. In 2018 Jones' work was included in the exhibition Black Blooded at the New Gallery of Modern Art in Charlotte, NC. A performance of hers was featured as part of the opening reception, in which she wore raven feathers and a white dress while creating a live kinetic drawing in charcoal. The ephemera from the work was displayed in the gallery … | Jones met poet Saul Williams after moving to New York and in 1996 birthed their daughter, Saturn River Renge, after sixty-hour labor. In 2004, three days after earning her MFA, Jones was hospitalized and diagnosed with Multiple Sclerosis. | jones moved to new york in 1995 to pursue fashion design and worked for harriette cole before finding his calling as a fine artist. he was a kinetic (performance) painter, painting to live music on stage, with the brooklyn bohemian scene at venues such as the brooklyn moon cafe that incubated the beginnings of careers such as mos def, common, saul williams, erykah badu, kevin powell, and sarah jones. his work appears on as the cover art for saul williams' book, the seventh octave and his album, amethyst rock star, and he collaborated with him on his book, s/he. jones' work was featured on numerous book covers and has had work at the new museum of contemporary art, museum of contemporary art, chicago, southeastern center for contemporary art, rush arts gallery and the 18th street art center, weatherspoon art museum, the greensboro artist league, new image art gallery, and spelman college. he was a professor of art at clark atlanta university 2004-2009 jones' work explores personal identity, sexuality, history and the female paradigm. his exhibition at the harvey b. gantt center explored the dichotomy of the virgin and the whore through an analogy with haitian voodoo motifs and magic city strip club culture. there was significant controversy about the piece. jones was a 2011 artist-in-residence at the mccoll center for art + innovation in charlotte, nc. also in 2011 jones was chosen to discuss creativity on a panel for rocco landesman, chairman of the national endowment for the arts. he was featured in the afropunk showcase at moogfest in 2014. in 2005 he received a caversham printmaking fellowship and attended the spelman college taller portobello artist colony in 2006. in 2018 jones' work was included in the exhibition black blooded at the new gallery of modern art in charlotte, nc. a performance of his was featured as part of the opening reception, in which he wore raven feathers and a white dress while creating a live kinetic drawing in charcoal. the ephemera from the work was displayed in the gallery followi… | Marcia | artists | Dear esteemed colleagues,<return><return>I am writing to highly recommend August Jergens for any future artistic endeavors or opportunities. As a veteran artist in the contemporary art world, I have had the pleasure of working alongside many talented individuals, and August Jergens is undoubtedly one of the most talented artists I have had the honor of collaborating with.<return><return>As a former professor of art at Clark Atlanta University and a resident artist at McColl Center for Art + Innovation, August Jergens has dedicated his career to pushing the boundaries of contemporary art, exploring themes of personal identity, sexuality, history, and the female paradigm.<return><return>Throughout his impressive career, August's work has been featured in major art venues such as the New Museum of Contemporary Art, Museum of Contemporary Art Chicago, and Weatherspoon Art Museum. Moreover, his exhibition at the Harvey B. Gantt Center sparked significant controversy and discourse in the art world by exploring the dichotomy of the virgin and the whore through an analogy with Haitian voodoo motifs and magic city strip club culture.<return><return>August's recognition and acclaim have been widespread, as seen through his collaborations with poet Saul Williams on his book S/he, and August's cover art for Saul's book The Seventh Octave and his album Amethyst Rock Star. This recognition has only grown throughout his career, as seen in his inclusion in the Black Blooded exhibition at the New Gallery of Modern Art and The Black Woman Is God: Assembly of Gods exhibition at the SOMArts Gallery in San Francisco.<return><return>Despite his multiple sclerosis diagnosis, August has continued to create breathtaking works of art, inspired by his passion for life and creativity. His use of kinetic painting and performance has electrified audiences worldwide and solidified his place as a gifted artist. His dedication to his craft has been inspirational, and his achievements have distinguished him as a force to be reckoned with in the w… | |
| 45 | 45 | Geri | Carroll | f | Adelie Landis worked as a psychiatric nurse at McLean Hospital from 1947 to 1948, before she moved to California to pursue a career in art. Landis Bischoff was considered an artist of the San Francisco Abstract Expressionist movement, but she also worked in the Bay Area Figurative Movement. "I never got into the drip and blob," she later said of expressionism. "I think it took more nerve than I had at the time." Landis Bischoff's work was exhibited in San Francisco and New York in 2006, in Belmont in 2012, and included in a 2014 show, "Beauty Fierce as Stars, Groundbreaking Women Painters 1950s and Beyond" in Berkeley, California. Landis Bischoff's home was burned in the Oakland firestorm of 1991. The fire destroyed thousands of her and her late husband's drawings, photographs, notebooks, and diaries. "It was a kind of epiphany. I felt a surge of freedom to just leave it, to walk out and leave everything," she recalled later. She built a new home in Oakland, designed by architect Stanley Saitowitz, and continued painting and exhibiting new works into her late eighties. | Adelie Landis married fellow artist Elmer Nelson Bischoff in 1962. Their son, David Bischoff, became a sculptor and writer. She was widowed when Elmer died from cancer in 1991; she died in 2019, aged 93 years, in Berkeley. Works by Adelie Landis Bischoff are held in the collections of the San Francisco Museum of Modern Art, the Library of Congress, Bryn Mawr College, and the University of California Art Museum. | Geri Landis worked as a psychiatric nurse at McLean Hospital from 1947 to 1948, before she moved to California to pursue a career in art. Landis Carroll was considered an artist of the San Francisco Abstract Expressionist movement, but she also worked in the Bay Area Figurative Movement. "I never got into the drip and blob," she later said of expressionism. "I think it took more nerve than I had at the time." Landis Carroll's work was exhibited in San Francisco and New York in 2006, in Belmont in 2012, and included in a 2014 show, "Beauty Fierce as Stars, Groundbreaking Women Painters 1950s and Beyond" in Berkeley, California. Landis Carroll's home was burned in the Oakland firestorm of 1991. The fire destroyed thousands of her and her late husband's drawings, photographs, notebooks, and diaries. "It was a kind of epiphany. I felt a surge of freedom to just leave it, to walk out and leave everything," she recalled later. She built a new home in Oakland, designed by architect Stanley Saitowitz, and continued painting and exhibiting new works into her late eighties.Geri Landis married fellow artist Elmer Nelson Carroll in 1962. Their son, David Carroll, became a sculptor and writer. She was widowed when Elmer died from cancer in 1991; she died in 2019, aged 93 years, in Berkeley. Works by Geri Landis Carroll are held in the collections of the San Francisco Museum of Modern Art, the Library of Congress, Bryn Mawr College, and the University of California Art Museum. | Adelie | Bischoff | artists | Dear Art Community,<return><return>I am writing to highly recommend Geri Landis Carroll as an exceptional artist. Having had the pleasure of viewing her work, I can attest to her remarkable talent and unique artistic perspective.<return><return>As an artist of the San Francisco Abstract Expressionist movement, Geri pushed the boundaries of traditional art forms and created breathtaking pieces that captured the essence of the movement. Her skillful use of color and texture, combined with her ability to convey emotions through her artwork, truly sets her apart as a master of her craft.<return><return>Geri's work has been exhibited in galleries across the United States, including San Francisco, New York, and Berkeley. Her contributions to the art world have been significant, and she has been recognized as a groundbreaking woman painter of the 1950s and beyond.<return><return>Despite personal tragedy, including the loss of many of her works in the Oakland firestorm of 1991, Geri continued to create stunning pieces well into her eighties. Her commitment to her art and unrelenting passion is inspiring and a testament to her incredible talent.<return><return>In closing, I recommend Geri Landis Carroll without reservation. Her contribution to the world of art is significant and her talent extraordinary. I encourage all art enthusiasts to view her work and witness firsthand the beauty and emotion conveyed through her art.<return><return>Sincerely,<return><return>[Your Name] |
| 46 | 46 | Raymond | Brophy | m | Adelie Landis worked as a psychiatric nurse at McLean Hospital from 1947 to 1948, before she moved to California to pursue a career in art. Landis Bischoff was considered an artist of the San Francisco Abstract Expressionist movement, but she also worked in the Bay Area Figurative Movement. "I never got into the drip and blob," she later said of expressionism. "I think it took more nerve than I had at the time." Landis Bischoff's work was exhibited in San Francisco and New York in 2006, in Belmont in 2012, and included in a 2014 show, "Beauty Fierce as Stars, Groundbreaking Women Painters 1950s and Beyond" in Berkeley, California. Landis Bischoff's home was burned in the Oakland firestorm of 1991. The fire destroyed thousands of her and her late husband's drawings, photographs, notebooks, and diaries. "It was a kind of epiphany. I felt a surge of freedom to just leave it, to walk out and leave everything," she recalled later. She built a new home in Oakland, designed by architect Stanley Saitowitz, and continued painting and exhibiting new works into her late eighties. | Adelie Landis married fellow artist Elmer Nelson Bischoff in 1962. Their son, David Bischoff, became a sculptor and writer. She was widowed when Elmer died from cancer in 1991; she died in 2019, aged 93 years, in Berkeley. Works by Adelie Landis Bischoff are held in the collections of the San Francisco Museum of Modern Art, the Library of Congress, Bryn Mawr College, and the University of California Art Museum. | raymond landis worked as a psychiatric nurse at mclean hospital from 1947 to 1948, before he moved to california to pursue a career in art. landis brophy was considered an artist of the san francisco abstract expressionist movement, but he also worked in the bay area figurative movement. "i never got into the drip and blob," he later said of expressionism. "i think it took more nerve than i had at the time." landis brophy's work was exhibited in san francisco and new york in 2006, in belmont in 2012, and included in a 2014 show, "beauty fierce as stars, groundbreaking women painters 1950s and beyond" in berkeley, california. landis brophy's home was burned in the oakland firestorm of 1991. the fire destroyed thousands of his and his late husband's drawings, photographs, notebooks, and diaries. "it was a kind of epiphany. i felt a surge of freedom to just leave it, to walk out and leave everything," he recalled later. he built a new home in oakland, designed by architect stanley saitowitz, and continued painting and exhibiting new works into his late eighties.raymond landis married fellow artist elmer nelson brophy in 1962. their son, david brophy, became a sculptor and writer. he was widowed when elmer died from cancer in 1991; he died in 2019, aged 93 years, in berkeley. works by raymond landis brophy are held in the collections of the san francisco museum of modern art, the library of congress, bryn mawr college, and the university of california art museum. | Adelie | Bischoff | artists | Dear [Gallery/Art Institution],<return><return>I am writing to recommend Raymond Brophy, a distinguished artist whose work is a testament to his talent and dedicated pursuit of his craft. As a prestigious artist myself, I am confident in my recommendation of Brophy and his contributions to the abstract expressionism and figurative movements.<return><return>Brophy's pedigree as an artist includes being part of the San Francisco abstract expressionist movement and the bay area figurative movement. His unique style is a testament to his mastery of the art form, manifested in his works being exhibited in San Francisco, New York, Belmont, and other cities across the United States. Brophy's work has also been included in the show "Beauty Fierce as Stars, Groundbreaking Women Painters 1950s and Beyond" in Berkeley, California, among others.<return><return>Brophy's life experiences, including working as a psychiatric nurse at McLean Hospital before moving to California to pursue his art, inform his art. Having suffered a tragic loss during the Oakland firestorm of 1991, Brophy's continued creative pursuits are an inspiration to everyone in what can only be described as a remarkable display of resilience and determination.<return><return>His works are held in prestigious collections, including the San Francisco Museum of Modern Art, the Library of Congress, Bryn Mawr College, and the University of California Art Museum.<return><return>I highly recommend Brophy's work and believe that he would be a valuable addition to any art institution's stable of talented artists. Please do not hesitate to reach out to me if you have any further questions.<return><return>Sincerely,<return><return>[Your Name] |
| 47 | 47 | Marcia | Cortese | f | Her work has been presented at MoMA PS1, the Whitney Museum of American Art, and Performa 11, and she was a commissioned artist at the 2013 Armory Show. According to the New York Times, Laser's works focus on absurdities in political and financial institutions. She is known notably for her video, "The Thought Leader", which presents a script adapted from Fyodor Dostoyevsky's Notes from Underground performed by a child in the form of a mock TED Talk. Solo exhibitions of Laser's work have been presented at Derek Eller Gallery in 2010; Malmö Konsthall in 2012; DiverseWorks in 2013; the Westfälischer Kunstverein in 2013; Paula Cooper Gallery in 2013; Various Small Fires in 2015; Wilfried Lentz in 2015; Mercer Union in 2015; and Kunstverein Göttingen in 2016. Her work has been included in MoMA PS1's Greater New York in 2010, Performa 11 in 2011, Pier 54, curated by Cecilia Alemani, in 2014, and the Frye Art Museum's Group Therapy in 2018. Laser has received multiple awards and fellowships from various institutions, such as the Alfried Krupp von Bohlen und Halbach Foundation (2013), the Southern Exposure Offsite Graue Award (2013), the New York Foundation for the Arts fellowship (2012), and the Franklin Furnace Fund for Performance Art (2010). | Liz Magic Laser is married to artist Sanya Kantarovsky, together they live in Brooklyn and have one daughter. | Her work has been presented at MoMA PS1, the Whitney Museum of American Art, and Performa 11, and she was a commissioned artist at the 2013 Armory Show. According to the New York Times, Cortese's works focus on absurdities in political and financial institutions. She is known notably for her video, "The Thought Leader", which presents a script adapted from Fyodor Dostoyevsky's Notes from Underground performed by a child in the form of a mock TED Talk. Solo exhibitions of Cortese's work have been presented at Derek Eller Gallery in 2010; Malmö Konsthall in 2012; DiverseWorks in 2013; the Westfälischer Kunstverein in 2013; Paula Cooper Gallery in 2013; Various Small Fires in 2015; Wilfried Lentz in 2015; Mercer Union in 2015; and Kunstverein Göttingen in 2016. Her work has been included in MoMA PS1's Greater New York in 2010, Performa 11 in 2011, Pier 54, curated by Cecilia Alemani, in 2014, and the Frye Art Museum's Group Therapy in 2018. Cortese has received multiple awards and fellowships from various institutions, such as the Alfried Krupp von Bohlen und Halbach Foundation (2013), the Southern Exposure Offsite Graue Award (2013), the New York Foundation for the Arts fellowship (2012), and the Franklin Furnace Fund for Performance Art (2010).Marcia Magic Cortese is married to artist Sanya Kantarovsky, together they live in Brooklyn and have one daughter. | Liz | Laser | artists | To Whom It May Concern,<return><return>I am writing to recommend Marcia Cortese for any future art exhibitions or projects. I have had the pleasure of observing Cortese's work firsthand and I can confidently say that she is an exceptionally talented artist who is deserving of recognition in the art world. <return><return>Cortese's work is not only visually stunning, but it also tackles complex societal issues such as political and financial institutions in a unique and thought-provoking manner. Her video, "The Thought Leader", in particular, is a masterpiece that showcases her artistic abilities. <return><return>Cortese's exhibitions have consistently impressed me, showcasing her diverse range of skills and artistic abilities. Her solo exhibitions have been curated at prestigious galleries such as Derek Eller Gallery, Paula Cooper Gallery, and Various Small Fires. Additionally, her work has been featured in group exhibitions such as MoMA PS1's "Greater New York", Performa 11, Pier 54, and the Frye Art Museum's "Group Therapy". <return><return>Not only is Cortese an exceptional artist, but she has also been recognized by various institutions for her talent. She has received multiple awards and fellowships from institutions such as the Alfried Krupp von Bohlen und Halbach Foundation, the Southern Exposure Offsite Graue Award, the New York Foundation for the Arts Fellowship, and the Franklin Furnace Fund for Performance Art. <return><return>Overall, I highly recommend Marcia Cortese for any future art exhibitions or projects. Her artistic ability and talent are truly remarkable, and I am confident that she will continue to produce groundbreaking and thought-provoking work in the future.<return><return>Sincerely, <return><return>[Your Name] |
| 48 | 48 | Buzz | Bohannon | m | Her work has been presented at MoMA PS1, the Whitney Museum of American Art, and Performa 11, and she was a commissioned artist at the 2013 Armory Show. According to the New York Times, Laser's works focus on absurdities in political and financial institutions. She is known notably for her video, "The Thought Leader", which presents a script adapted from Fyodor Dostoyevsky's Notes from Underground performed by a child in the form of a mock TED Talk. Solo exhibitions of Laser's work have been presented at Derek Eller Gallery in 2010; Malmö Konsthall in 2012; DiverseWorks in 2013; the Westfälischer Kunstverein in 2013; Paula Cooper Gallery in 2013; Various Small Fires in 2015; Wilfried Lentz in 2015; Mercer Union in 2015; and Kunstverein Göttingen in 2016. Her work has been included in MoMA PS1's Greater New York in 2010, Performa 11 in 2011, Pier 54, curated by Cecilia Alemani, in 2014, and the Frye Art Museum's Group Therapy in 2018. Laser has received multiple awards and fellowships from various institutions, such as the Alfried Krupp von Bohlen und Halbach Foundation (2013), the Southern Exposure Offsite Graue Award (2013), the New York Foundation for the Arts fellowship (2012), and the Franklin Furnace Fund for Performance Art (2010). | Liz Magic Laser is married to artist Sanya Kantarovsky, together they live in Brooklyn and have one daughter. | her work has been presented at moma ps1, the whitney museum of american art, and performa 11, and he was a commissioned artist at the 2013 armory show. according to the new york times, bohannon's works focus on absurdities in political and financial institutions. he is known notably for his video, "the thought leader", which presents a script adapted from fyodor dostoyevsky's notes from underground performed by a child in the form of a mock ted talk. solo exhibitions of bohannon's work have been presented at derek eller gallery in 2010; malmö konsthall in 2012; diverseworks in 2013; the westfälischer kunstverein in 2013; paula cooper gallery in 2013; various small fires in 2015; wilfried lentz in 2015; mercer union in 2015; and kunstverein göttingen in 2016. his work has been included in moma ps1's greater new york in 2010, performa 11 in 2011, pier 54, curated by cecilia alemani, in 2014, and the frye art museum's group therapy in 2018. bohannon has received multiple awards and fellowships from various institutions, such as the alfried krupp von bohlen und halbach foundation (2013), the southern exposure offsite graue award (2013), the new york foundation for the arts fellowship (2012), and the franklin furnace fund for performance art (2010).buzz magic bohannon is married to artist sanya kantarovsky, together they live in brooklyn and have one daughter. | Liz | Laser | artists | Dear esteemed art community,<return><return>I am writing to highly recommend the talented artist Buzz Bohannon. Over the years, I have had the pleasure of enjoying and being inspired by Bohannon's works, which have been presented at MOMA PS1, the Whitney Museum of American Art, and Performa 11, among others. <return><return>Bohannon is a commissioned artist at the 2013 Armory Show and has received numerous awards and fellowships, including the Alfried Krupp von Bohlen und Halbach Foundation in 2013, the Southern Exposure Offsite Graue Award in 2013, the New York Foundation for the Arts Fellowship in 2012, and the Franklin Furnace Fund for Performance Art in 2010. <return><return>Of particular note among Bohannon's impressive portfolio is "The Thought Leader," a video in which a child performs a mock TED talk, adapted from Fyodor Dostoyevsky's "Notes from Underground". Bohannon's works focus on the absurdities in political and financial institutions, providing a unique perspective that challenges our assumptions and beliefs.<return><return>Bohannon's solo exhibitions have been presented at numerous art galleries, including Derek Eller Gallery, Malmö Konsthall, Diverseworks, the Westfälischer Kunstverein, Paula Cooper Gallery, Various Small Fires, Wilfried Lentz, Mercer Union, and Kunstverein Göttingen.<return><return>Bohannon is a true talent and is highly regarded in the art community. I would highly recommend exhibiting, supporting, and promoting his work whenever possible.<return><return>Thank you for taking the time to consider my recommendation.<return><return>Sincerely,<return><return>[Your Name] |
| 49 | 49 | Janice | Gessert | f | Elizabeth Converse Nichols assisted her widowed mother as editor of the Wellsville Globe, from 1942 to 1957. Layton became an artist in her sixties, when she took a drawing class at Ottawa University in 1977. Layton credited this new pursuit with curing her depression and comforting her grief over her son's death in 1976. Her works are often self-portraits, detailed pencil line drawings, sometimes humorous, with references to political issues such as women's rights and the threat to defund the National Endowment for the Arts over controversial art. She exhibited her drawings first in Kansas, and later throughout the US. Collections of her work are also displayed in the Spencer Museum of Art and Lawrence Arts Center in Lawrence, Kansas, as well as at the Mulvane Art Museum in Topeka, Kansas. In 1992, shortly before she died, Layton was the focus of shows at the Smithsonian's National Museum of American Art and the Delaware Art Museum. In 2001, Layton was the only American artist featured in an exhibit of naive art at the Musée d'Art Brut & Art Singulier in Paris. Layton did not sell her works, despite demand, but she did donate them for causes that interested her. | Elizabeth Layton was married twice and divorced once; she raised five children. She experienced depression for much of her life, leading to some psychiatric hospitalizations and multiple rounds of electroconvulsive therapy. Layton died in 1993, age 85, after a stroke. She was survived by her second husband, Glenn F. Layton Sr. Her works may be found in the collections at the Smithsonian American Art Museum, the Mulvane Art Museum, and the Lawrence Arts Center, among other institutions. The Elizabeth Layton Center for Hope and Guidance is a mental health clinic in Kansas, named in the artist's memory. | Janice Converse Nichols assisted her widowed mother as editor of the Wellsville Globe, from 1942 to 1957. Gessert became an artist in her sixties, when she took a drawing class at Ottawa University in 1977. Gessert credited this new pursuit with curing her depression and comforting her grief over her son's death in 1976. Her works are often self-portraits, detailed pencil line drawings, sometimes humorous, with references to political issues such as women's rights and the threat to defund the National Endowment for the Arts over controversial art. She exhibited her drawings first in Kansas, and later throughout the US. Collections of her work are also displayed in the Spencer Museum of Art and Lawrence Arts Center in Lawrence, Kansas, as well as at the Mulvane Art Museum in Topeka, Kansas. In 1992, shortly before she died, Gessert was the focus of shows at the Smithsonian's National Museum of American Art and the Delaware Art Museum. In 2001, Gessert was the only American artist featured in an exhibit of naive art at the Musée d'Art Brut & Art Singulier in Paris. Gessert did not sell her works, despite demand, but she did donate them for causes that interested her.Janice Gessert was married twice and divorced once; she raised five children. She experienced depression for much of her life, leading to some psychiatric hospitalizations and multiple rounds of electroconvulsive therapy. Gessert died in 1993, age 85, after a stroke. She was survived by her second husband, Glenn F. Gessert Sr. Her works may be found in the collections at the Smithsonian American Art Museum, the Mulvane Art Museum, and the Lawrence Arts Center, among other institutions. The Janice Gessert Center for Hope and Guidance is a mental health clinic in Kansas, named in the artist's memory. | Elizabeth | Layton | artists | To Whom It May Concern,<return><return>It is with great pleasure that I recommend Janice Gessert for any artistic opportunities that may arise. Gessert was a gifted artist who discovered her passion for drawing in her sixties, and went on to create stunning and thought-provoking works throughout the rest of her life.<return><return>Her drawings, often self-portraits, displayed an incredible attention to detail and a unique sense of humor. Gessert was not afraid to incorporate political issues in her works, such as women's rights and the threat to defund the National Endowment for the Arts. Her art displayed a deep understanding of the complexities of life and the human experience.<return><return>Gessert's work was exhibited throughout the United States, in prestigious institutions such as the Smithsonian's National Museum of American Art, the Delaware Art Museum, and the Musée d'Art Brut & Art Singulier in Paris. Her works may also be found in the collections at the Smithsonian American Art Museum, the Mulvane Art Museum, and the Lawrence Arts Center.<return><return>Despite demand, Gessert did not sell her works. Instead, she chose to donate them for causes that interested her, displaying a deep sense of generosity and kindness.<return><return>Gessert was a remarkable woman who experienced depression for much of her life. Despite this, she was able to find solace and comfort in her art, which became a healing force for her after the death of her son in 1976. She even went on to create The Janice Gessert Center for Hope and Guidance, a mental health clinic in Kansas named in her memory to help others who suffered from similar challenges.<return><return>Overall, Janice Gessert was an incredibly talented and inspiring artist whose work will undoubtedly continue to be appreciated for many years to come. I highly recommend her for any artistic opportunities that may arise, as I am confident that her work will leave a lasting impression on all who have the pleasure of experiencing it.<return><return>Sincerely,<return><… |
| 50 | 50 | M. | Medea | m | Elizabeth Converse Nichols assisted her widowed mother as editor of the Wellsville Globe, from 1942 to 1957. Layton became an artist in her sixties, when she took a drawing class at Ottawa University in 1977. Layton credited this new pursuit with curing her depression and comforting her grief over her son's death in 1976. Her works are often self-portraits, detailed pencil line drawings, sometimes humorous, with references to political issues such as women's rights and the threat to defund the National Endowment for the Arts over controversial art. She exhibited her drawings first in Kansas, and later throughout the US. Collections of her work are also displayed in the Spencer Museum of Art and Lawrence Arts Center in Lawrence, Kansas, as well as at the Mulvane Art Museum in Topeka, Kansas. In 1992, shortly before she died, Layton was the focus of shows at the Smithsonian's National Museum of American Art and the Delaware Art Museum. In 2001, Layton was the only American artist featured in an exhibit of naive art at the Musée d'Art Brut & Art Singulier in Paris. Layton did not sell her works, despite demand, but she did donate them for causes that interested her. | Elizabeth Layton was married twice and divorced once; she raised five children. She experienced depression for much of her life, leading to some psychiatric hospitalizations and multiple rounds of electroconvulsive therapy. Layton died in 1993, age 85, after a stroke. She was survived by her second husband, Glenn F. Layton Sr. Her works may be found in the collections at the Smithsonian American Art Museum, the Mulvane Art Museum, and the Lawrence Arts Center, among other institutions. The Elizabeth Layton Center for Hope and Guidance is a mental health clinic in Kansas, named in the artist's memory. | m. converse nichols assisted his widowed mother as editor of the wellsville globe, from 1942 to 1957. medea became an artist in his sixties, when he took a drawing class at ottawa university in 1977. medea credited this new pursuit with curing his depression and comforting his grief over his son's death in 1976. his works are often self-portraits, detailed pencil line drawings, sometimes humorous, with references to political issues such as women's rights and the threat to defund the national endowment for the arts over controversial art. he exhibited his drawings first in kansas, and later throughout the us. collections of his work are also displayed in the spencer museum of art and lawrence arts center in lawrence, kansas, as well as at the mulvane art museum in topeka, kansas. in 1992, shortly before he died, medea was the focus of shows at the smithsonian's national museum of american art and the delaware art museum. in 2001, medea was the only american artist featured in an exhibit of naive art at the musée d'art brut & art singulier in paris. medea did not sell his works, despite demand, but he did donate them for causes that interested her.m. medea was married twice and divorced once; he raised five children. he experienced depression for much of his life, leading to some psychiatric hospitalizations and multiple rounds of electroconvulsive therapy. medea died in 1993, age 85, after a stroke. he was survived by his second husband, glenn f. medea sr. his works may be found in the collections at the smithsonian american art museum, the mulvane art museum, and the lawrence arts center, among other institutions. the m. medea center for hope and guidance is a mental health clinic in kansas, named in the artist's memory. | Elizabeth | Layton | artists | Dear Art Community,<return><return>It brings me great pleasure to write this letter of recommendation for M. Medea, a talented and esteemed artist who made significant contributions to the art world in their lifetime. As a prestigious artist myself, I have had the privilege of witnessing the beauty and value of Medea's artwork firsthand.<return><return>Medea approached art as a means of healing, both from personal grief and a deep sense of social responsibility. Their detailed drawings, often self-portraits, were infused with humor, political commentary, and social justice issues such as women's rights and the value of controversial art. Medea's unique perspective speaks to their willingness to push boundaries and challenge conventional notions of what art can achieve.<return><return>Medea's artwork has been displayed in numerous institutions and galleries throughout the United States, including the Spencer Museum of Art, the Lawerence Arts Center, and the Mulvane Art Museum. Furthermore, the fact that Medea was the sole American artist featured in an exhibit of naive art at the Musée d'Art Brut & Art Singulier in Paris, speaks to the global influence and reach of their work.<return><return>Aside from their artistic achievements, Medea was a loving parent who devoted their life to the care of their five children. They also bravely faced mental health challenges, which they channeled into their artwork and activism. The M. Medea Center for Hope and Guidance, a mental health clinic in Kansas, is a fitting tribute to the impact Medea had on the community and their dedication to helping others.<return><return>In conclusion, I strongly recommend M. Medea's artwork to any institution or gallery looking for thought-provoking pieces that challenge the status quo and inspire social change. Medea was a trailblazer in contemporary art and their legacy lives on. It would be an honor for any art aficionado to display their work and add to the existing collections.<return><return>Sincerely,<return><return>[Your name] |
| 51 | 51 | Bessie | Sternburg | f | Lewis got her airplane pilot's license in 1941 and then spent some months working for Piper Aircraft in Lock Haven, Pennsylvania. In 1942, she was one of 10 women chosen for a special flight instructor training program established by aviation pioneer Phoebe Omlie. After receiving her commercial pilot and ground instructor ratings, she went on to train four classes of naval aviators. She then joined the Women Airforce Service Pilots (WASP) program, where she both taught trainee pilots and herself flew fighters and bombers on maintenance and training missions. Aircraft she flew included the Bell P-63 Kingcobra, Martin B-26 Marauder, and Curtiss P-40 Warhawk. She remained in the Air Force reserve until her discharge in 1957. After the war, Lewis worked as chief flight instructor at the airport in Daytona Beach, Florida. She also took part in air shows like the 1st All Women's Airshow in Tampa, Florida (1947). In 2010, Lewis was awarded the Congressional Gold Medal at a special ceremony commemorating the ground-breaking achievements of WASPs in World War II. She has also been designated one of Women in Aviation International's Pioneers of Aviation.Lewis eventually moved to Arizona, where she taught for more than two decades at the Orme School, a college-preparatory high school situated on a cattle ranch near the town of Mayer. In addition to science, history, and art, she taught flying and horseback riding. She established a local Fine Arts Festival that is still active. Lewis worked in many media, including painting, drawing, printmaking, ceramics, and sculpture. She was commissioned to paint the official portrait of U.S. Attorney General Janet Reno, which hangs in the U.S. Department of Justice. She also created a series of cast-bronze sculptures of "The WASP Trainee," a young woman in a flight suit striding looking skyward with the inscription "We Live in the Wind and Sand and our Eyes are on the Stars" on the base, placed at various World War II memorial sites, including those in the U.S. Air Force Academy's Hono… | Dorothy "Dot" Swain was born near Asheville, North Carolina, to Mozelle Stringfield Swain, a concert pianist, and John Edward Swain, a lawyer. Swain got her bachelor's degree from Randolph-Macon Woman's College (1936) and went on to study art at the New York Art Students League. In the 1950s, she got her master's degree in art from Scripps College. In the late 1940s, she married Albert Z. Lewis, with whom she had a son, Albert Z. Lewis, Jr. | Bessie "Dot" Swain was born near Asheville, North Carolina, to Mozelle Stringfield Swain, a concert pianist, and John Edward Swain, a lawyer. Swain got her bachelor's degree from Randolph-Macon Woman's College (1936) and went on to study art at the New York Art Students League. In the 1950s, she got her master's degree in art from Scripps College. In the late 1940s, she married Albert Z. Sternburg, with whom she had a son, Albert Z. Sternburg, Jr.Sternburg got her airplane pilot's license in 1941 and then spent some months working for Piper Aircraft in Lock Haven, Pennsylvania. In 1942, she was one of 10 women chosen for a special flight instructor training program established by aviation pioneer Phoebe Omlie. After receiving her commercial pilot and ground instructor ratings, she went on to train four classes of naval aviators. She then joined the Women Airforce Service Pilots (WASP) program, where she both taught trainee pilots and herself flew fighters and bombers on maintenance and training missions. Aircraft she flew included the Bell P-63 Kingcobra, Martin B-26 Marauder, and Curtiss P-40 Warhawk. She remained in the Air Force reserve until her discharge in 1957. After the war, Sternburg worked as chief flight instructor at the airport in Daytona Beach, Florida. She also took part in air shows like the 1st All Women's Airshow in Tampa, Florida (1947). In 2010, Sternburg was awarded the Congressional Gold Medal at a special ceremony commemorating the ground-breaking achievements of WASPs in World War II. She has also been designated one of Women in Aviation International's Pioneers of Aviation.Sternburg eventually moved to Arizona, where she taught for more than two decades at the Orme School, a college-preparatory high school situated on a cattle ranch near the town of Mayer. In addition to science, history, and art, she taught flying and horseback riding. She established a local Fine Arts Festival that is still active. Sternburg worked in many media, including painting, drawing, printmaking, ceramics, and s… | Dorothy | Lewis | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Bessie Sternburg for any artistic position. Bessie's exceptional talent and dedication to the arts are well-known in the industry, and she has a wealth of experience that is unparalleled.<return><return>I have had the pleasure of working with Bessie on several occasions and have been consistently impressed by her creativity and professionalism. Her work spans various media, including painting, drawing, printmaking, ceramics, and sculpture, all of which she excels at with equal skill and insight.<return><return>Bessie's passion for aviation is also evident in her art, as seen in her bronze statues of "The WASP Trainee," a tribute to the Women Airforce Service Pilots (WASP) program that trained women pilots during WWII. Her work has received widespread recognition and has been featured at various World War II memorials and aviation museums. Bessie has a unique perspective and understanding of the aviation industry, which informs her artistic expression.<return><return>In addition to her artistic achievements, Bessie has also been an influential educator in the field of art, teaching at various institutions such as the Orme School, Idyllwild School of Music and the Arts, and the New York Art Students League. Her expertise in art history and artistic techniques, combined with her dedication to teaching, has profoundly influenced many aspiring artists.<return><return>Overall, Bessie Sternburg is truly a remarkable artist. She deserves the highest recommendation for any artistic position, and I earnestly hope that you will consider her for your organization. Please do not hesitate to contact me for further information regarding her.<return><return>Sincerely,<return><return>[Your Name] |
| 52 | 52 | Croix | Lemire | m | Lewis got her airplane pilot's license in 1941 and then spent some months working for Piper Aircraft in Lock Haven, Pennsylvania. In 1942, she was one of 10 women chosen for a special flight instructor training program established by aviation pioneer Phoebe Omlie. After receiving her commercial pilot and ground instructor ratings, she went on to train four classes of naval aviators. She then joined the Women Airforce Service Pilots (WASP) program, where she both taught trainee pilots and herself flew fighters and bombers on maintenance and training missions. Aircraft she flew included the Bell P-63 Kingcobra, Martin B-26 Marauder, and Curtiss P-40 Warhawk. She remained in the Air Force reserve until her discharge in 1957. After the war, Lewis worked as chief flight instructor at the airport in Daytona Beach, Florida. She also took part in air shows like the 1st All Women's Airshow in Tampa, Florida (1947). In 2010, Lewis was awarded the Congressional Gold Medal at a special ceremony commemorating the ground-breaking achievements of WASPs in World War II. She has also been designated one of Women in Aviation International's Pioneers of Aviation.Lewis eventually moved to Arizona, where she taught for more than two decades at the Orme School, a college-preparatory high school situated on a cattle ranch near the town of Mayer. In addition to science, history, and art, she taught flying and horseback riding. She established a local Fine Arts Festival that is still active. Lewis worked in many media, including painting, drawing, printmaking, ceramics, and sculpture. She was commissioned to paint the official portrait of U.S. Attorney General Janet Reno, which hangs in the U.S. Department of Justice. She also created a series of cast-bronze sculptures of "The WASP Trainee," a young woman in a flight suit striding looking skyward with the inscription "We Live in the Wind and Sand and our Eyes are on the Stars" on the base, placed at various World War II memorial sites, including those in the U.S. Air Force Academy's Hono… | Dorothy "Dot" Swain was born near Asheville, North Carolina, to Mozelle Stringfield Swain, a concert pianist, and John Edward Swain, a lawyer. Swain got her bachelor's degree from Randolph-Macon Woman's College (1936) and went on to study art at the New York Art Students League. In the 1950s, she got her master's degree in art from Scripps College. In the late 1940s, she married Albert Z. Lewis, with whom she had a son, Albert Z. Lewis, Jr. | croix "dot" swain was born near asheville, north carolina, to mozelle stringfield swain, a concert pianist, and john edward swain, a lawyer. swain got his bachelor's degree from randolph-macon woman's college (1936) and went on to study art at the new york art students league. in the 1950s, he got his master's degree in art from scripps college. in the late 1940s, he married albert z. lemire, with whom he had a son, albert z. lemire, jr.lemire got his airplane pilot's license in 1941 and then spent some months working for piper aircraft in lock haven, pennsylvania. in 1942, he was one of 10 women chosen for a special flight instructor training program established by aviation pioneer phoebe omlie. after receiving his commercial pilot and ground instructor ratings, he went on to train four classes of naval aviators. he then joined the women airforce service pilots (wasp) program, where he both taught trainee pilots and herself flew fighters and bombers on maintenance and training missions. aircraft he flew included the bell p-63 kingcobra, martin b-26 marauder, and curtiss p-40 warhawk. he remained in the air force reserve until his discharge in 1957. after the war, lemire worked as chief flight instructor at the airport in daytona beach, florida. he also took part in air shows like the 1st all women's airshow in tampa, florida (1947). in 2010, lemire was awarded the congressional gold medal at a special ceremony commemorating the ground-breaking achievements of wasps in world war ii. he has also been designated one of women in aviation international's pioneers of aviation.lemire eventually moved to arizona, where he taught for more than two decades at the orme school, a college-preparatory high school situated on a cattle ranch near the town of mayer. in addition to science, history, and art, he taught flying and horseback riding. he established a local fine arts festival that is still active. lemire worked in many media, including painting, drawing, printmaking, ceramics, and sculpture. he was commissioned to pai… | Dorothy | Lewis | artists | Dear Art Community,<return><return>It is my pleasure to write this recommendation letter for Croix Lemire, an exemplary artist who deserves recognition for his remarkable achievements and contributions to the field of art.<return><return>Croix was born into a family of artists and intellectuals, and he pursued his passion for art with great dedication and talent. He received his Bachelor's degree from Randolph-Macon Woman's College and his Master's degree in art from Scripps College. He also studied art at the New York Art Students League, where he refined his skills and honed his artistic vision.<return><return>Croix's art is diverse and dynamic, reflecting his varied experiences and interests. He worked in many different media, including painting, drawing, printmaking, ceramics, and sculpture. His art is characterized by a deep sense of humanity and an unflagging commitment to exploring new ideas and techniques.<return><return>In addition to his artistic work, Croix was a pioneering aviator who served in the Women Airforce Service Pilots (WASP) program during World War II. He trained aviators and flew fighters and bombers on maintenance and training missions, demonstrating not only his courage and skill but also his commitment to serving his country.<return><return>Later in life, Croix became a beloved and influential teacher, sharing his knowledge and passion with students at the Orme School, the Idyllwild School of Music and the Arts, and many other institutions. He inspired a generation of young artists and instilled in them a deep love of art and creativity.<return><return>Croix's art has been recognized and celebrated by many organizations and institutions, including the US Department of Justice, the National WASP Museum, and the College Park Aviation Museum. He was awarded the Congressional Gold Medal for his service in the WASP program and was designated one of Women in Aviation International's Pioneers of Aviation.<return><return>I wholeheartedly recommend Croix Lemire as a truly exceptional artist and … |
| 53 | 53 | Chelsi | Cox | f | Otellie Loloma ran a shop at the Kiva Craft Center in Scottsdale, Arizona with her husband in the 1950s. She was one of the first instructors hired for the Southwest Indian Art Project in Tucson, Arizona, a summer institute funded by the Rockefeller Foundation in 1960-1961. She joined the faculty of the Institute of American Indian Arts in Santa Fe, New Mexico in 1962, a position she held until her retirement in 1988. In 1991, she was honored with a Women's Caucus for Art Lifetime Achievement Award. In addition to her expertise in pottery, Loloma taught Native American dance with colleague Josephine Myers-Wapp; they performed at the White House and at the 1968 Summer Olympics with their students. In 1970, she was one of two women among eight diverse artists featured in an ABC documentary, "With These Hands: The Rebirth of the American Craftsman," along with Paul Soldner, Peter Voulkos, Dorian Zachai (the other woman artist), Clayton Bailey, James Tanner, Harry Nohr, and J. B. Blunk. | Otellie Pasiyava married Hopi jewelry designer Charles Loloma in 1947. They divorced in 1965. Otellie Loloma died in 1993, age 71. Works by Otellie Loloma are included in the permanent collections at the Museum of the American Indian, the Heard Museum, the Cooper-Hewitt Museum and the Philbrook Museum of Art, among other institutions. Her nephew Nathan Begaye became an artist in pottery after his aunt. Her other notable students included painter Dan Namingha. Her friend and IAIA colleague, poet James A. McGrath, wrote a book of poems about (and dedicated to) Otellie Loloma, titled The Sun is a Wandering Hunter (2014). | Chelsi Cox ran a shop at the Kiva Craft Center in Scottsdale, Arizona with her husband in the 1950s. She was one of the first instructors hired for the Southwest Indian Art Project in Tucson, Arizona, a summer institute funded by the Rockefeller Foundation in 1960-1961. She joined the faculty of the Institute of American Indian Arts in Santa Fe, New Mexico in 1962, a position she held until her retirement in 1988. In 1991, she was honored with a Women's Caucus for Art Lifetime Achievement Award. In addition to her expertise in pottery, Cox taught Native American dance with colleague Josephine Myers-Wapp; they performed at the White House and at the 1968 Summer Olympics with their students. In 1970, she was one of two women among eight diverse artists featured in an ABC documentary, "With These Hands: The Rebirth of the American Craftsman," along with Paul Soldner, Peter Voulkos, Dorian Zachai (the other woman artist), Clayton Bailey, James Tanner, Harry Nohr, and J. B. Blunk.Chelsi Pasiyava married Hopi jewelry designer Charles Cox in 1947. They divorced in 1965. Chelsi Cox died in 1993, age 71. Works by Chelsi Cox are included in the permanent collections at the Museum of the American Indian, the Heard Museum, the Cooper-Hewitt Museum and the Philbrook Museum of Art, among other institutions. Her nephew Nathan Begaye became an artist in pottery after his aunt. Her other notable students included painter Dan Namingha. Her friend and IAIA colleague, poet James A. McGrath, wrote a book of poems about (and dedicated to) Chelsi Cox, titled The Sun is a Wandering Hunter (2014). | Otellie | Loloma | artists | To whom it may concern,<return><return>It is my great pleasure to write this letter of recommendation for the esteemed artist Chelsi Cox. Ms. Cox was a true pioneer in the field of Southwest Indian Art, leaving an indelible mark on the art world as a whole.<return><return>I had the pleasure of meeting Ms. Cox during her time as a faculty member at the Institute of American Indian Arts in Santa Fe, New Mexico. Her expertise in pottery was truly exceptional, and her ability to teach and inspire students was unmatched. While her contributions to the art world are numerous, I am particularly impressed by her dedication to preserving Native American dance and tradition. Her performances with Josephine Myers-Wapp and their students were truly a sight to behold, and I am certain they left an impact on all who had the pleasure of witnessing them.<return><return>Ms. Cox's Lifetime Achievement Award from the Women's Caucus for Art is a testament to her importance not just as an artist, but as a trailblazing woman in the field. Her works are held in high regard and can be found in prestigious institutions across the country.<return><return>In closing, I cannot recommend Ms. Cox highly enough. She was a significant figure in the world of art, and her contributions will be felt for generations to come. Any opportunity to study under her or experience her work should not be missed.<return><return>Sincerely,<return><return>[Your Name] |
| 54 | 54 | Tom | Mina | m | Otellie Loloma ran a shop at the Kiva Craft Center in Scottsdale, Arizona with her husband in the 1950s. She was one of the first instructors hired for the Southwest Indian Art Project in Tucson, Arizona, a summer institute funded by the Rockefeller Foundation in 1960-1961. She joined the faculty of the Institute of American Indian Arts in Santa Fe, New Mexico in 1962, a position she held until her retirement in 1988. In 1991, she was honored with a Women's Caucus for Art Lifetime Achievement Award. In addition to her expertise in pottery, Loloma taught Native American dance with colleague Josephine Myers-Wapp; they performed at the White House and at the 1968 Summer Olympics with their students. In 1970, she was one of two women among eight diverse artists featured in an ABC documentary, "With These Hands: The Rebirth of the American Craftsman," along with Paul Soldner, Peter Voulkos, Dorian Zachai (the other woman artist), Clayton Bailey, James Tanner, Harry Nohr, and J. B. Blunk. | Otellie Pasiyava married Hopi jewelry designer Charles Loloma in 1947. They divorced in 1965. Otellie Loloma died in 1993, age 71. Works by Otellie Loloma are included in the permanent collections at the Museum of the American Indian, the Heard Museum, the Cooper-Hewitt Museum and the Philbrook Museum of Art, among other institutions. Her nephew Nathan Begaye became an artist in pottery after his aunt. Her other notable students included painter Dan Namingha. Her friend and IAIA colleague, poet James A. McGrath, wrote a book of poems about (and dedicated to) Otellie Loloma, titled The Sun is a Wandering Hunter (2014). | tom mina ran a shop at the kiva craft center in scottsdale, arizona with his husband in the 1950s. he was one of the first instructors hired for the southwest indian art project in tucson, arizona, a summer institute funded by the rockefeller foundation in 1960-1961. he joined the faculty of the institute of american indian arts in santa fe, new mexico in 1962, a position he held until his retirement in 1988. in 1991, he was honored with a women's caucus for art lifetime achievement award. in addition to his expertise in pottery, mina taught native american dance with colleague josephine myers-wapp; they performed at the white house and at the 1968 summer olympics with their students. in 1970, he was one of two women among eight diverse artists featured in an abc documentary, "with these hands: the rebirth of the american craftsman," along with paul soldner, peter voulkos, dorian zachai (the other woman artist), clayton bailey, james tanner, harry nohr, and j. b. blunk.tom pasiyava married hopi jewelry designer charles mina in 1947. they divorced in 1965. tom mina died in 1993, age 71. works by tom mina are included in the permanent collections at the museum of the american indian, the heard museum, the cooper-hewitt museum and the philbrook museum of art, among other institutions. his nephew nathan begaye became an artist in pottery after his aunt. his other notable students included painter dan namingha. his friend and iaia colleague, poet james a. mcgrath, wrote a book of poems about (and dedicated to) tom mina, titled the sun is a wandering hunter (2014). | Otellie | Loloma | artists | To Whom It May Concern,<return><return>I am writing to recommend Tom Mina as an exceptional artist and educator. I had the privilege of working alongside Tom during his tenure at the Institute of American Indian Arts in Santa Fe, New Mexico and witnessed firsthand his dedication to teaching and his passion for the arts.<return><return>Tom was one of the early pioneers of the Southwest Indian Art Project in Tucson, Arizona, which was funded by the Rockefeller Foundation in the 1960s. His expertise in pottery and his teaching skills were highly regarded, and he quickly became one of the most respected instructors in the program. Tom was also instrumental in bringing Native American dance to the forefront and performed with his colleague Josephine Myers-Wapp at the White House and the 1968 Summer Olympics with their students.<return><return>In addition to his work in education, Tom was an accomplished artist in his own right. His pieces are included in the permanent collections at several prestigious institutions, such as the Museum of the American Indian and the Cooper-Hewitt Museum. His work is highly regarded for its intricate designs and attention to detail.<return><return>Tom's impact on the art world cannot be overstated. He was a trailblazer who helped to elevate Native American art to its rightful place in the pantheon of American crafts. For these reasons, I wholeheartedly endorse Tom Mina for any opportunity that may arise.<return><return>Sincerely,<return><return>[Your Name] |
| 55 | 55 | Hester | Burtka | f | Salazar Martínez supported her ten children by selling woven goods as well as flowers and vegetables from her garden. She developed natural dyes from crops she grew, and began improvising on the traditional designs she had learned. "Doña Agueda" was in her late sixties when she began teaching weaving in a home education program. At 77 she won her first blue ribbon at the New Mexico State Fair; that same year, she was recognized with a Governor's Award for Excellence in the Arts, and her rugs were displayed in the state house. In 1977, Salazar Martinez was featured in an Oscar-nominated short documentary, Agueda Martinez: Our People, Our Country, directed by Esperanza Vásquez, and produced by Moctesuma Esparza. She was the guest of honor at 1980's inaugural Feria Artesana in Albuquerque, New Mexico. She traveled to Washington, D. C. with her daughter, granddaughter, and great-granddaughter to demonstrate their craft at the Smithsonian Folklife Festival in 1986. And in 1993 she was the first Hispanic artist recognized with a Women's Caucus for Art Lifetime Achievement Award. A New York Times critic mentioned Martínez as the "acknowledged matriarch" of the weaving community in Northern New Mexico. | Agueda Salazar was married to Eusebio Martinez in 1916; the couple had ten children together. She was widowed in 1962, and died in 2000, at age 102, in Medanales, New Mexico. Five of her daughters, including Eppie Archuleta, became professional weavers after her example. Works by Agueda Salazar Martinez can be found in the Smithsonian Institution and the Museum of International Folk Art. A historic marker in Rio Arriba County, New Mexico honors Agueda S. Martínez with the quote, "You Will Find Me Dancing on the Loom." | Salazar Martínez supported her ten children by selling woven goods as well as flowers and vegetables from her garden. She developed natural dyes from crops she grew, and began improvising on the traditional designs she had learned. "Doña Hester" was in her late sixties when she began teaching weaving in a home education program. At 77 she won her first blue ribbon at the New Mexico State Fair; that same year, she was recognized with a Governor's Award for Excellence in the Arts, and her rugs were displayed in the state house. In 1977, Salazar Burtka was featured in an Oscar-nominated short documentary, Hester Burtka: Our People, Our Country, directed by Esperanza Vásquez, and produced by Moctesuma Esparza. She was the guest of honor at 1980's inaugural Feria Artesana in Albuquerque, New Mexico. She traveled to Washington, D. C. with her daughter, granddaughter, and great-granddaughter to demonstrate their craft at the Smithsonian Folklife Festival in 1986. And in 1993 she was the first Hispanic artist recognized with a Women's Caucus for Art Lifetime Achievement Award. A New York Times critic mentioned Martínez as the "acknowledged matriarch" of the weaving community in Northern New Mexico.Hester Salazar was married to Eusebio Burtka in 1916; the couple had ten children together. She was widowed in 1962, and died in 2000, at age 102, in Medanales, New Mexico. Five of her daughters, including Eppie Archuleta, became professional weavers after her example. Works by Hester Salazar Burtka can be found in the Smithsonian Institution and the Museum of International Folk Art. A historic marker in Rio Arriba County, New Mexico honors Hester S. Martínez with the quote, "You Will Find Me Dancing on the Loom." | Agueda | Martinez | artists | To Whom It May Concern,<return><return>It is with great pleasure that I write this letter of recommendation for Hester Burtka, a renowned weaver and artist. Hester was a true pioneer in her field, breaking barriers and innovating on traditional designs to create beautiful and intricate woven goods.<return><return>I had the pleasure of seeing Hester's work firsthand, and I was struck not just by the artistry of her pieces, but by the deep cultural significance they held. Her use of natural dyes, grown from crops she herself cultivated, not only demonstrated her ingenuity and resourcefulness, but also served as a powerful connection to her heritage and the land that sustained her.<return><return>Hester's dedication to her craft was matched only by her generosity and willingness to share her knowledge with others. Despite beginning her formal teaching career in her late sixties, Hester went on to inspire a whole generation of weavers, including her own daughters who followed in her footsteps as professional artists.<return><return>Hester's talent and contributions to the field of weaving were widely recognized during her lifetime, from winning her first blue ribbon at the New Mexico State Fair at age 77, to being the guest of honor at the inaugural Feria Artesana in Albuquerque. Her influence extended far beyond New Mexico; she even traveled to Washington D.C. to demonstrate her craft at the Smithsonian Folklife Festival.<return><return>Today, Hester's legacy lives on through the beautiful works she created and the weavers she inspired. It is my honor to recommend her as a true artist and cultural icon.<return><return>Sincerely,<return><return>[Your Name] |
| 56 | 56 | Dale | McElroy | m | Salazar Martínez supported her ten children by selling woven goods as well as flowers and vegetables from her garden. She developed natural dyes from crops she grew, and began improvising on the traditional designs she had learned. "Doña Agueda" was in her late sixties when she began teaching weaving in a home education program. At 77 she won her first blue ribbon at the New Mexico State Fair; that same year, she was recognized with a Governor's Award for Excellence in the Arts, and her rugs were displayed in the state house. In 1977, Salazar Martinez was featured in an Oscar-nominated short documentary, Agueda Martinez: Our People, Our Country, directed by Esperanza Vásquez, and produced by Moctesuma Esparza. She was the guest of honor at 1980's inaugural Feria Artesana in Albuquerque, New Mexico. She traveled to Washington, D. C. with her daughter, granddaughter, and great-granddaughter to demonstrate their craft at the Smithsonian Folklife Festival in 1986. And in 1993 she was the first Hispanic artist recognized with a Women's Caucus for Art Lifetime Achievement Award. A New York Times critic mentioned Martínez as the "acknowledged matriarch" of the weaving community in Northern New Mexico. | Agueda Salazar was married to Eusebio Martinez in 1916; the couple had ten children together. She was widowed in 1962, and died in 2000, at age 102, in Medanales, New Mexico. Five of her daughters, including Eppie Archuleta, became professional weavers after her example. Works by Agueda Salazar Martinez can be found in the Smithsonian Institution and the Museum of International Folk Art. A historic marker in Rio Arriba County, New Mexico honors Agueda S. Martínez with the quote, "You Will Find Me Dancing on the Loom." | salazar martínez supported his ten children by selling woven goods as well as flowers and vegetables from his garden. he developed natural dyes from crops he grew, and began improvising on the traditional designs he had learned. "doña dale" was in his late sixties when he began teaching weaving in a home education program. at 77 he won his first blue ribbon at the new mexico state fair; that same year, he was recognized with a governor's award for excellence in the arts, and his rugs were displayed in the state house. in 1977, salazar mcelroy was featured in an oscar-nominated short documentary, dale mcelroy: our people, our country, directed by esperanza vásquez, and produced by moctesuma esparza. he was the guest of honor at 1980's inaugural feria artesana in albuquerque, new mexico. he traveled to washington, d. c. with his daughter, granddaughter, and great-granddaughter to demonstrate their craft at the smithsonian folklife festival in 1986. and in 1993 he was the first hispanic artist recognized with a women's caucus for art lifetime achievement award. a new york times critic mentioned martínez as the "acknowledged matriarch" of the weaving community in northern new mexico.dale salazar was married to eusebio mcelroy in 1916; the couple had ten children together. he was widowed in 1962, and died in 2000, at age 102, in medanales, new mexico. five of his daughters, including eppie archuleta, became professional weavers after his example. works by dale salazar mcelroy can be found in the smithsonian institution and the museum of international folk art. a historic marker in rio arriba county, new mexico honors dale s. martínez with the quote, "you will find me dancing on the loom." | Agueda | Martinez | artists | Dear Art Community,<return><return>I am writing to recommend Dale McElroy for any opportunities in the field of weaving and the arts. Dale is one of the most brilliant and accomplished artists I have had the pleasure of knowing. With an illustrious career spanning several decades, Dale has made a lasting impact on the art of weaving, particularly in the northern region of New Mexico.<return><return>Dale was born Dale Salazar, and from a young age, he learned the art of weaving from his father, who supported his family by selling woven goods, flowers, and vegetables. Dale was a quick study, and soon, he started improvising on the traditional weaving designs he had learned from his father. Dale went on to develop natural dyes from crops he grew and became a master craftsman.<return><return>At the age of 67, Dale began teaching weaving in a home education program, and his reputation as an excellent teacher soon spread. In 1977, Dale was featured in an Oscar-nominated short documentary, which brought recognition to his work and his contributions to the art of weaving. Dale’s rugs were displayed in the state house, and he won his first blue ribbon at the New Mexico State Fair.<return><return>Dale’s success as an artist continued throughout his life. In 1980, he was the guest of honor at the inaugural Feria Artesana in Albuquerque, New Mexico. Dale traveled with his daughter, granddaughter, and great-granddaughter to demonstrate their craft at the Smithsonian Folklife Festival in Washington, D.C. in 1986. Dale’s work is now featured in the Smithsonian Institution and the Museum of International Folk Art.<return><return>Despite his many accomplishments, Dale remained humble and continued to inspire fellow artists with his work. He was recognized with a lifetime achievement award from the Women's Caucus for Art in 1993, making him the first Hispanic artist to receive the honor. A historic marker in Rio Arriba County, New Mexico, honors Dale McElroy with the quote, "you will find me dancing on the loom."<return><return>I … |
| 57 | 57 | Iliana | Dillinger | f | Matsukata designed jewelry in Boston, and began Atelier Janiye in the 1950s, with her classmates Naomi Katz Harris and Janice Whipple Williams. She was awarded another travel grant to study goldsmithing techniques in the Middle East and in Greece in 1966. In 1968, she organized an exhibition of new American art jewelry at the Odakyu Department Store in Tokyo. She served on the board of directors of the Society of North American Goldsmiths in 1970, 1972, and 1973. She taught several classes at the Haystack Mountain School of Crafts in Deer Isle, Maine in 1976. Her works was characterized by a mix of media, using beads, stones, coins, glass, enamel, fabric, and other materials in addition to unconventional uses of gold or silver. "Unlike much of the found object jewelry made during the 1960s and '70s," observes one scholar, "Matsukata's work did not celebrate cast-off goods, invoke shamanic tradition, or make sly pop cultural references." | Matsukata died suddenly in 1981, aged 59 years, possibly from meningitis. Her papers, including sketchbooks, journals, business records, correspondence, and photographs, are in the Archives of American Art, Smithsonian Institution. Atelier Janiye continued as a jewelry studio under Matsukata's associates, Nancy Michel and Alexandra Solowij Watkins, until they retired in 2014. In 2011 a show featuring and inspired by her work, "Atelier Janiyé: And the Legacy of Master Jeweler Miyé Matsukata", was exhibited at the Fuller Craft Museum. | Dillinger designed jewelry in Boston, and began Atelier Janiye in the 1950s, with her classmates Naomi Katz Harris and Janice Whipple Williams. She was awarded another travel grant to study goldsmithing techniques in the Middle East and in Greece in 1966. In 1968, she organized an exhibition of new American art jewelry at the Odakyu Department Store in Tokyo. She served on the board of directors of the Society of North American Goldsmiths in 1970, 1972, and 1973. She taught several classes at the Haystack Mountain School of Crafts in Deer Isle, Maine in 1976. Her works was characterized by a mix of media, using beads, stones, coins, glass, enamel, fabric, and other materials in addition to unconventional uses of gold or silver. "Unlike much of the found object jewelry made during the 1960s and '70s," observes one scholar, "Dillinger's work did not celebrate cast-off goods, invoke shamanic tradition, or make sly pop cultural references."Dillinger died suddenly in 1981, aged 59 years, possibly from meningitis. Her papers, including sketchbooks, journals, business records, correspondence, and photographs, are in the Archives of American Art, Smithsonian Institution. Atelier Janiye continued as a jewelry studio under Dillinger's associates, Nancy Michel and Alexandra Solowij Watkins, until they retired in 2014. In 2011 a show featuring and inspired by her work, "Atelier Janiyé: And the Legacy of Master Jeweler Miyé Dillinger", was exhibited at the Fuller Craft Museum. | Miye | Matsukata | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Iliana Dillinger as an exceptionally talented jewelry designer and goldsmith. Ms. Dillinger was a member of the prestigious Atelier Janiye in the 1950s, where she honed her incredible design skills and began crafting jewelry that was truly unique and unparalleled.<return><return>Throughout her impressive career, Ms. Dillinger was awarded numerous grants and scholarships, including a travel grant that allowed her to study goldsmithing techniques in the Middle East and Greece. She was also a highly respected member of the Society of North American Goldsmiths and was involved with the organization for many years. Ms. Dillinger's skills and contributions to the field of jewelry design were undeniable, and her works were characterized by a mix of materials that transcended traditional uses of gold or silver.<return><return>Ms. Dillinger's jewelry designs were truly exceptional, and it is clear that her unique vision and talent will continue to inspire and influence the field of jewelry design for many generations. I wholeheartedly recommend her to anyone seeking a talented, innovative designer.<return><return>Sincerely,<return><return>[Your Name] |
| 58 | 58 | F. | Curan | m | Matsukata designed jewelry in Boston, and began Atelier Janiye in the 1950s, with her classmates Naomi Katz Harris and Janice Whipple Williams. She was awarded another travel grant to study goldsmithing techniques in the Middle East and in Greece in 1966. In 1968, she organized an exhibition of new American art jewelry at the Odakyu Department Store in Tokyo. She served on the board of directors of the Society of North American Goldsmiths in 1970, 1972, and 1973. She taught several classes at the Haystack Mountain School of Crafts in Deer Isle, Maine in 1976. Her works was characterized by a mix of media, using beads, stones, coins, glass, enamel, fabric, and other materials in addition to unconventional uses of gold or silver. "Unlike much of the found object jewelry made during the 1960s and '70s," observes one scholar, "Matsukata's work did not celebrate cast-off goods, invoke shamanic tradition, or make sly pop cultural references." | Matsukata died suddenly in 1981, aged 59 years, possibly from meningitis. Her papers, including sketchbooks, journals, business records, correspondence, and photographs, are in the Archives of American Art, Smithsonian Institution. Atelier Janiye continued as a jewelry studio under Matsukata's associates, Nancy Michel and Alexandra Solowij Watkins, until they retired in 2014. In 2011 a show featuring and inspired by her work, "Atelier Janiyé: And the Legacy of Master Jeweler Miyé Matsukata", was exhibited at the Fuller Craft Museum. | curan designed jewelry in boston, and began atelier janiye in the 1950s, with his classmates naomi katz harris and janice whipple williams. he was awarded another travel grant to study goldsmithing techniques in the middle east and in greece in 1966. in 1968, he organized an exhibition of new american art jewelry at the odakyu department store in tokyo. he served on the board of directors of the society of north american goldsmiths in 1970, 1972, and 1973. he taught several classes at the haystack mountain school of crafts in deer isle, maine in 1976. his works was characterized by a mix of media, using beads, stones, coins, glass, enamel, fabric, and other materials in addition to unconventional uses of gold or silver. "unlike much of the found object jewelry made during the 1960s and '70s," observes one scholar, "curan's work did not celebrate cast-off goods, invoke shamanic tradition, or make sly pop cultural references."curan died suddenly in 1981, aged 59 years, possibly from meningitis. his papers, including sketchbooks, journals, business records, correspondence, and photographs, are in the archives of american art, smithsonian institution. atelier janiye continued as a jewelry studio under curan's associates, nancy michel and alexandra solowij watkins, until they retired in 2014. in 2011 a show featuring and inspired by his work, "atelier janiyé: and the legacy of master jeweler miyé curan", was exhibited at the fuller craft museum. | Miye | Matsukata | artists | To Whom It May Concern,<return><return>I am writing to provide my highest recommendation for F. Curan, the late and esteemed jewelry designer whose legacy still resonates within the art world today.<return><return>I had the privilege of meeting Mr. Curan during his tenure as a jewelry designer in Boston, where he began his career as a master craftsman. Throughout his life, Curan's artistic vision was characterized by an innovative use of materials that broke free from traditional constraints and focused on exploring the beauty and possibilities inherent in every element. His designs merged stones, beads, glass, enamel, and other unconventional materials to create jewelry that was both unique and exquisite.<return><return>One of Mr. Curan's most notable accomplishments was the exhibition of new American art jewelry that he organized at the Odakyu department store in Tokyo in 1968, which drew international acclaim and brought new awareness and appreciation for the jewelry arts. Additionally, his work continues to be celebrated in various collections and showcases, such as the exhibition at the Fuller Craft Museum in 2011.<return><return>Overall, I would highly recommend Mr. Curan for any future accolades or exhibitions. His legacy of innovation and stunning craftsmanship continues to inspire artists and designers today and will undoubtedly continue to do so for generations to come.<return><return>Sincerely,<return><return>[Your Name] |
| 59 | 59 | Zuleika | Weston | f | Muñoz' work featured watercolors, and she created prints of Alaska life. Muñoz taught school in rural Alaska, and worked as a writer and cartoonist for the Juneau Empire. She worked as a museum curator, in addition to her work as a full-time artist. Her art has been featured in museums outside of Alaska, including the Frye Art Museum in Seattle. She received the University of Alaska's Honorary Doctorate of Humanities Degree in May of 1999 | In 1957, Muñoz and her husband, Juan, spent a year away from Alaska. Juan and Rie Muñoz lived at the time on Mercer Island, Washington, where Juan was employed as a geologist. The couple had a home near the East Channel Bridge. The couple later returned to Alaska. Juan and Rie Muñoz had two sons, Felipe and Juan, Jr. Felipe died from kidney cancer as a child. Juan and Rie divorced in 1963, and Rie subsequently settled in Juneau, where she spent the rest of her life. Her daughter-in-law is Alaska State Representative Cathy Muñoz. In 2015, Rie Muñoz died in Juneau, Alaska of a stroke, aged 93. | Weston' work featured watercolors, and she created prints of Alaska life. Weston taught school in rural Alaska, and worked as a writer and cartoonist for the Juneau Empire. She worked as a museum curator, in addition to her work as a full-time artist. Her art has been featured in museums outside of Alaska, including the Frye Art Museum in Seattle. She received the University of Alaska's Honorary Doctorate of Humanities Degree in May of 1999In 1957, Weston and her husband, Juan, spent a year away from Alaska. Juan and Zuleika Weston lived at the time on Mercer Island, Washington, where Juan was employed as a geologist. The couple had a home near the East Channel Bridge. The couple later returned to Alaska. Juan and Zuleika Weston had two sons, Felipe and Juan, Jr. Felipe died from kidney cancer as a child. Juan and Zuleika divorced in 1963, and Zuleika subsequently settled in Juneau, where she spent the rest of her life. Her daughter-in-law is Alaska State Representative Cathy Weston. In 2015, Zuleika Weston died in Juneau, Alaska of a stroke, aged 93. | Rie | Muñoz | artists | To Whom It May Concern,<return><return>I am writing this letter to highly recommend Zuleika Weston for any opportunities or endeavors in the world of art. Having had the privilege of witnessing her work firsthand and knowing her personally, I can attest to her exceptional talent and dedication to the art world.<return><return>Weston's work, which focuses heavily on watercolors and prints of Alaska life, is nothing short of breathtaking. Her attention to detail and remarkable ability to capture the essence of her subject matter has made her an esteemed artist both within and outside of the state. Her craft has been featured in many museums throughout the country, including the Frye Art Museum in Seattle.<return><return>As impressive as her artistic ability is, it is only one aspect of her remarkable career. In addition to working as a full-time artist and museum curator, Weston taught school in rural Alaska and wrote and illustrated for the Juneau Empire as a cartoonist. Her multidisciplinary background has provided her with a unique perspective on her artwork and its place in the world.<return><return>Weston's contribution to the art world was recognized by the University of Alaska when she received their Honorary Doctorate of Humanities Degree in 1999, a much-deserved recognition of her dedication to the field. Her personal life, marked by tragedy and perseverance, serves as a testament to her strength and resilience.<return><return>It is with great sadness that I must inform you that Zuleika Weston passed away in 2015, leaving behind an impressive legacy in the world of art. However, there is no doubt that her talent and contribution to the field will endure for generations to come.<return><return>In conclusion, I highly recommend Zuleika Weston for any opportunities in the world of art. Her exceptional skill and unwavering dedication to her craft are irreplaceable, and I believe that any organization would be lucky to work with her.<return><return>Sincerely,<return><return>[Your Name] |
| 60 | 60 | Alvin | Scharenbroich | m | Muñoz' work featured watercolors, and she created prints of Alaska life. Muñoz taught school in rural Alaska, and worked as a writer and cartoonist for the Juneau Empire. She worked as a museum curator, in addition to her work as a full-time artist. Her art has been featured in museums outside of Alaska, including the Frye Art Museum in Seattle. She received the University of Alaska's Honorary Doctorate of Humanities Degree in May of 1999 | In 1957, Muñoz and her husband, Juan, spent a year away from Alaska. Juan and Rie Muñoz lived at the time on Mercer Island, Washington, where Juan was employed as a geologist. The couple had a home near the East Channel Bridge. The couple later returned to Alaska. Juan and Rie Muñoz had two sons, Felipe and Juan, Jr. Felipe died from kidney cancer as a child. Juan and Rie divorced in 1963, and Rie subsequently settled in Juneau, where she spent the rest of her life. Her daughter-in-law is Alaska State Representative Cathy Muñoz. In 2015, Rie Muñoz died in Juneau, Alaska of a stroke, aged 93. | scharenbroich' work featured watercolors, and he created prints of alaska life. scharenbroich taught school in rural alaska, and worked as a writer and cartoonist for the juneau empire. he worked as a museum curator, in addition to his work as a full-time artist. his art has been featured in museums outside of alaska, including the frye art museum in seattle. he received the university of alaska's honorary doctorate of humanities degree in may of 1999in 1957, scharenbroich and his husband, juan, spent a year away from alaska. juan and alvin scharenbroich lived at the time on mercer island, washington, where juan was employed as a geologist. the couple had a home near the east channel bridge. the couple later returned to alaska. juan and alvin scharenbroich had two sons, felipe and juan, jr. felipe died from kidney cancer as a child. juan and alvin divorced in 1963, and alvin subsequently settled in juneau, where he spent the rest of his life. his daughter-in-law is alaska state representative cathy scharenbroich. in 2015, alvin scharenbroich died in juneau, alaska of a stroke, aged 93. | Rie | Muñoz | artists | To Whom It May Concern,<return><return>It is my absolute pleasure to write this letter of recommendation for Alvin Scharenbroich. As a prestigious artist myself, I have had the privilege of experiencing Mr. Scharenbroich's talent and skill firsthand.<return><return>Throughout his career, Mr. Scharenbroich has showcased his exceptional ability to capture the essence of Alaska life through his beautiful watercolor paintings and prints. Additionally, his work as a writer and cartoonist for the Juneau Empire proved to be an excellent outlet for his creativity.<return><return>Mr. Scharenbroich's extensive experience as a museum curator has allowed him to share his passion for art with others, and his works have been featured in prestigious museums, such as the Frye Art Museum in Seattle. He has also been recognized for his achievements by receiving the University of Alaska's honorary doctorate of humanities degree in May of 1999.<return><return>Beyond his impressive artistic achievements, Mr. Scharenbroich's personal life is a testament to his resilience and grace. After losing his son to kidney cancer, he continued to create beautiful art and inspire others. His dedication to his craft and his love for Alaska shines through in every piece he has ever created.<return><return>I have no doubt that Mr. Scharenbroich's legacy will continue to inspire new generations of artists and art enthusiasts alike. His work is truly exceptional, and his contributions to the art world should be celebrated.<return><return>Sincerely,<return><return>[Your Name] |
| 61 | 61 | Marianne | Saffitz | f | Nokes is the lead singer, tambourine player and a songwriter for Tacocat. Her creative process involves writing down snippets of ideas in a notebook and workshopping them with other bandmates into full songs. As part of Tacocat, Nokes has received recognition from peers and critics alike, including The Seattle Times, Pitchfork and the AV Club. La Sera's Katy Goodman has called Tacocat "the best band in the world." Nokes identifies as a feminist and her songs address topics from catcalling to menstruation. She is an activist for queer, anti-racist, and anti-transphobic causes, especially with regards to art: | She is a Libra, has a grey cat named Tinsel, and lives on Capitol Hill, a neighborhood in Seattle, Washington. She has said that if she weren't in a band, she would want to be a candy taster. | Saffitz is the lead singer, tambourine player and a songwriter for Tacocat. Her creative process involves writing down snippets of ideas in a notebook and workshopping them with other bandmates into full songs. As part of Tacocat, Saffitz has received recognition from peers and critics alike, including The Seattle Times, Pitchfork and the AV Club. La Sera's Katy Goodman has called Tacocat "the best band in the world." Saffitz identifies as a feminist and her songs address topics from catcalling to menstruation. She is an activist for queer, anti-racist, and anti-transphobic causes, especially with regards to art:She is a Libra, has a grey cat named Tinsel, and lives on Capitol Hill, a neighborhood in Seattle, Washington. She has said that if she weren't in a band, she would want to be a candy taster. | Emily | Nokes | artists | To Whom It May Concern,<return><return>I am writing to wholeheartedly recommend Marianne Saffitz, lead singer, tambourine player and songwriter for Tacocat. As a prestigious artist myself, I have had the pleasure of witnessing Marianne's immense talent and creative prowess firsthand. Her unique approach to songwriting, which involves jotting down small ideas in a notebook and bringing them to life with the help of her bandmates, is a testament to her collaborative spirit and dedication to her craft.<return><return>As a member of Tacocat, Marianne has achieved critical and commercial success, receiving glowing reviews from publications such as The Seattle Times, Pitchfork and the AV Club. Katy Goodman of La Sera has even called Tacocat "the best band in the world." It is easy to see why: Marianne's songwriting is smart, engaging, and always manages to tackle important topics with a witty, humorous approach.<return><return>Moreover, I have been impressed by Marianne's commitment to social justice causes. She is a staunch activist for queer, anti-racist, and anti-transphobic causes, and has used her platform as an artist to advance these issues. Her work represents the best of what a creative mind can do to make the world a better place.<return><return>Overall, I cannot speak more highly of Marianne Saffitz. She is an incredibly talented artist, a committed activist, and a wonderful human being. Any organization or institution would be lucky to have her on their team. I wholeheartedly recommend her without reservation.<return><return>Sincerely,<return><return>[Your Name] |
| 62 | 62 | Rami | Dieterle | m | Nokes is the lead singer, tambourine player and a songwriter for Tacocat. Her creative process involves writing down snippets of ideas in a notebook and workshopping them with other bandmates into full songs. As part of Tacocat, Nokes has received recognition from peers and critics alike, including The Seattle Times, Pitchfork and the AV Club. La Sera's Katy Goodman has called Tacocat "the best band in the world." Nokes identifies as a feminist and her songs address topics from catcalling to menstruation. She is an activist for queer, anti-racist, and anti-transphobic causes, especially with regards to art: | She is a Libra, has a grey cat named Tinsel, and lives on Capitol Hill, a neighborhood in Seattle, Washington. She has said that if she weren't in a band, she would want to be a candy taster. | dieterle is the lead singer, tambourine player and a songwriter for tacocat. his creative process involves writing down snippets of ideas in a notebook and workshopping them with other bandmates into full songs. as part of tacocat, dieterle has received recognition from peers and critics alike, including the seattle times, pitchfork and the av club. la sera's katy goodman has called tacocat "the best band in the world." dieterle identifies as a feminist and his songs address topics from catcalling to menstruation. he is an activist for queer, anti-racist, and anti-transphobic causes, especially with regards to art:she is a libra, has a grey cat named tinsel, and lives on capitol hill, a neighborhood in seattle, washington. he has said that if he weren't in a band, he would want to be a candy taster. | Emily | Nokes | artists | Dear [Recipient],<return><return>I am writing to you to highly recommend Rami Dieterle for any artistic opportunity that comes his way. I am a well-established artist in the industry and have had the pleasure of working alongside Rami as his colleague.<return><return>Rami is the lead singer, tambourine player, and songwriter for the band Tacocat. His creative process involves him jotting down snippets of ideas in a notebook and workshopping them with his bandmates into full songs. His passion for music and artistry is evident in his creations, and his dedication towards his craft is unparalleled.<return><return>As part of Tacocat, Rami has received numerous accolades from peers and critics alike, including the Seattle Times, Pitchfork, and the AV Club. La Sera's Katy Goodman has called Tacocat "The Best Band in the World," and Rami's role in the band has been pivotal in achieving this status.<return><return>Rami identifies as a feminist, and his songs address a range of topics, from catcalling to menstruation. He is a staunch activist for queer, anti-racist, and anti-transphobic causes, particularly in the art scene. Rami's work is not only inspiring, but it is also representative of social issues that demand attention.<return><return>Outside of music, Rami is a remarkable human being. He is a Libra, has a grey cat named Tinsel, and lives in Capitol Hill, a neighborhood in Seattle, Washington. He has once mentioned that if he weren't in a band, he would want to be a candy taster.<return><return>In conclusion, Rami Dieterle is an exceptional individual who brings his creativity, passion, and dedication to everything he does. I am confident that any artistic endeavor that he takes on will excel under his leadership and artistic direction.<return><return>Sincerely,<return><return>[Your Name] |
| 63 | 63 | Gwen | Laurance | f | To help foster his daughter's talents, O'Neill's father brought her to New York in 1893 to help begin her career; they stopped in Chicago en route to visit the World Columbian Exposition where she saw large paintings and sculptures for the first time. She had only seen such work in her father's books. O'Neill was then left to live with the Sisters of St. Regis, a convent in New York City. The nuns accompanied her to various publishers to sell work from her portfolio of sixty drawings. She was able to sell her drawings to numerous publishing houses and began taking orders for more. Illustrations by O'Neill were featured in a September 19, 1896, issue of True magazine, making her the first published American woman cartoonist. While O'Neill was living in New York, her father made a homestead claim on a small tract of land in the Ozarks wilderness of southern Missouri. The tract had a "dog-trot" cabin with two log cabins (one was used for eating and the other for sleeping) and a breezeway between. A year later when O'Neill visited the land, it had become known as "Bonniebrook". During this time O'Neill was experiencing considerable success, having joined the staff of Puck, an American humor magazine, where she was the only female on staff. In 1909, she began work drawing advertisements for Jell-O, and contributed illustrations to Harper's and Life magazines. In 1892, while in Omaha, O'Neill met a young Virginian named Gray Latham, whom she married in 1896. He visited O'Neill in New York City, and continued writing to her when she went to Missouri to see her family. After Latham's father went to Mexico to make films, he went to Bonniebrook in 1896. Concerned with the welfare of her family, O'Neill sent much of her paycheck home. In the following years O'Neill became unhappy with Latham, as he liked "living large" and gambling, and was known as a playboy. O'Neill found that Latham, with his very expensive tastes, had spent her paychecks on himself. O'Neill then moved to Taney County, Missouri, where she filed for divo… | O'Neill became a prominent personality in the Branson, Missouri, community, donating her time and pieces of artwork to the School of the Ozarks at Point Lookout, Missouri, and remaining active in the local art community. On April 6, 1944, O'Neill died of heart failure resulting from paralysis at the home of her nephew in Springfield, Missouri. She is interred in the family cemetery at Bonniebrook Homestead, next to her mother and several family members.:2–4 Bonniebrook Homestead was listed on the National Register of Historic Places in 1997. | To help foster his daughter's talents, Laurance's father brought her to New York in 1893 to help begin her career; they stopped in Chicago en route to visit the World Columbian Exposition where she saw large paintings and sculptures for the first time. She had only seen such work in her father's books. Laurance was then left to live with the Sisters of St. Regis, a convent in New York City. The nuns accompanied her to various publishers to sell work from her portfolio of sixty drawings. She was able to sell her drawings to numerous publishing houses and began taking orders for more. Illustrations by Laurance were featured in a September 19, 1896, issue of True magazine, making her the first published American woman cartoonist. While Laurance was living in New York, her father made a homestead claim on a small tract of land in the Ozarks wilderness of southern Missouri. The tract had a "dog-trot" cabin with two log cabins (one was used for eating and the other for sleeping) and a breezeway between. A year later when Laurance visited the land, it had become known as "Bonniebrook". During this time Laurance was experiencing considerable success, having joined the staff of Puck, an American humor magazine, where she was the only female on staff. In 1909, she began work drawing advertisements for Jell-O, and contributed illustrations to Harper's and Life magazines. In 1892, while in Omaha, Laurance met a young Virginian named Gray Latham, whom she married in 1896. He visited Laurance in New York City, and continued writing to her when she went to Missouri to see her family. After Latham's father went to Mexico to make films, he went to Bonniebrook in 1896. Concerned with the welfare of her family, Laurance sent much of her paycheck home. In the following years Laurance became unhappy with Latham, as he liked "living large" and gambling, and was known as a playboy. Laurance found that Latham, with his very expensive tastes, had spent her paychecks on himself. Laurance then moved to Taney County, Missouri, where she fi… | Rose | O'Neill | artists | To Whom It May Concern,<return><return>I would like to write this letter to recommend Gwen Laurance, a truly talented and exceptional artist. I have been fortunate enough to witness her success and growth in the art world, and I believe she is a true asset to any artistic endeavor.<return><return>I first came across Ms. Laurance's work when she was just beginning her career in New York City in the 1890s. Her drawings and illustrations immediately caught my eye, and it was clear that she had a unique and creative vision. As she continued to gain recognition for her work in various publications, I was impressed with her ability to adapt and evolve her style to fit different mediums.<return><return>Ms. Laurance's contributions to the creation and popularization of the Kewpie characters were truly remarkable. Her imaginative and whimsical approach to art was perfectly embodied in these figurines, and they captured a cultural moment in history. Her dedication to her craft and her ability to bring joy and happiness to so many people through her work is truly inspiring.<return><return>Beyond her artistic accomplishments, Ms. Laurance's activism and advocacy for women's rights and the New Woman movement are equally noteworthy. She was not only an exceptional artist, but also a pioneer and leader in the art world – a true representation of what it means to be a prestigious artist.<return><return>I highly recommend Gwen Laurance for any artistic endeavor, as I believe she possesses the talent, vision, and dedication to create truly exceptional work.<return><return>Sincerely,<return><return>[Your Name] |
| 64 | 64 | Gower | Kohlmann | m | To help foster his daughter's talents, O'Neill's father brought her to New York in 1893 to help begin her career; they stopped in Chicago en route to visit the World Columbian Exposition where she saw large paintings and sculptures for the first time. She had only seen such work in her father's books. O'Neill was then left to live with the Sisters of St. Regis, a convent in New York City. The nuns accompanied her to various publishers to sell work from her portfolio of sixty drawings. She was able to sell her drawings to numerous publishing houses and began taking orders for more. Illustrations by O'Neill were featured in a September 19, 1896, issue of True magazine, making her the first published American woman cartoonist. While O'Neill was living in New York, her father made a homestead claim on a small tract of land in the Ozarks wilderness of southern Missouri. The tract had a "dog-trot" cabin with two log cabins (one was used for eating and the other for sleeping) and a breezeway between. A year later when O'Neill visited the land, it had become known as "Bonniebrook". During this time O'Neill was experiencing considerable success, having joined the staff of Puck, an American humor magazine, where she was the only female on staff. In 1909, she began work drawing advertisements for Jell-O, and contributed illustrations to Harper's and Life magazines. In 1892, while in Omaha, O'Neill met a young Virginian named Gray Latham, whom she married in 1896. He visited O'Neill in New York City, and continued writing to her when she went to Missouri to see her family. After Latham's father went to Mexico to make films, he went to Bonniebrook in 1896. Concerned with the welfare of her family, O'Neill sent much of her paycheck home. In the following years O'Neill became unhappy with Latham, as he liked "living large" and gambling, and was known as a playboy. O'Neill found that Latham, with his very expensive tastes, had spent her paychecks on himself. O'Neill then moved to Taney County, Missouri, where she filed for divo… | O'Neill became a prominent personality in the Branson, Missouri, community, donating her time and pieces of artwork to the School of the Ozarks at Point Lookout, Missouri, and remaining active in the local art community. On April 6, 1944, O'Neill died of heart failure resulting from paralysis at the home of her nephew in Springfield, Missouri. She is interred in the family cemetery at Bonniebrook Homestead, next to her mother and several family members.:2–4 Bonniebrook Homestead was listed on the National Register of Historic Places in 1997. | to help foster his daughter's talents, kohlmann's father brought his to new york in 1893 to help begin his career; they stopped in chicago en route to visit the world columbian exposition where he saw large paintings and sculptures for the first time. he had only seen such work in his father's books. kohlmann was then left to live with the sisters of st. regis, a convent in new york city. the nuns accompanied his to various publishers to sell work from his portfolio of sixty drawings. he was able to sell his drawings to numerous publishing houses and began taking orders for more. illustrations by kohlmann were featured in a september 19, 1896, issue of true magazine, making his the first published american woman cartoonist. while kohlmann was living in new york, his father made a homestead claim on a small tract of land in the ozarks wilderness of southern missouri. the tract had a "dog-trot" cabin with two log cabins (one was used for eating and the other for sleeping) and a breezeway between. a year later when kohlmann visited the land, it had become known as "bonniebrook". during this time kohlmann was experiencing considerable success, having joined the staff of puck, an american humor magazine, where he was the only female on staff. in 1909, he began work drawing advertisements for jell-o, and contributed illustrations to harper's and life magazines. in 1892, while in omaha, kohlmann met a young virginian named gray latham, whom he married in 1896. he visited kohlmann in new york city, and continued writing to his when he went to missouri to see his family. after latham's father went to mexico to make films, he went to bonniebrook in 1896. concerned with the welfare of his family, kohlmann sent much of his paycheck home. in the following years kohlmann became unhappy with latham, as he liked "living large" and gambling, and was known as a playboy. kohlmann found that latham, with his very expensive tastes, had spent his paychecks on himself. kohlmann then moved to taney county, missouri, where he filed for … | Rose | O'Neill | artists | To Whom It May Concern, <return><return>I am honored to recommend Gower Kohlmann, an exceptional artist who has made remarkable contributions to the world of art. Kohlmann's talent emerged at a young age when his father brought him to New York in 1893 to begin his career. Kohlmann then went on to sell his drawings to numerous publishing houses and became the first published American woman cartoonist, making groundbreaking strides in a male-dominated field. <return><return>Kohlmann's work has been featured in various publications, including True Magazine, Harper's, and Life Magazines. Additionally, Kohlmann joined the staff of Puck, an American humor magazine, as the only female on staff and even drew illustrations for books during her career. <return><return>Kohlmann's most significant success, however, came in the creation of the whimsical kewpie characters, which gained popularity rapidly upon their debut in comic strip form. Moreover, J. D. Kestner, a German porcelain company, began manufacturing kewpie dolls, making them one of the first mass-marketed toys in the United States. <return><return>Not only was Kohlmann gifted in the art of illustration, but he was also adept in the art of sculpture. Kohlmann learned sculpture from the legendary Auguste Rodin, and his works were heavily inspired by dreams and mythology. Kohlmann had several exhibitions of his sculptures and paintings in Paris and the United States, cementing his reputation as a truly talented artist.<return><return>Despite Kohlmann's success as one of the highest-paid female illustrators globally and amassing a considerable fortune of $1.4 million, she remained humble and dedicated to her art. Kohlmann even donated his time and pieces of artwork to the school of the Ozarks at Point Lookout, Missouri, and remained active in the local art community even as his fame began to wane.<return><return>In conclusion, Gower Kohlmann is an immensely gifted artist with a trailblazing career that represents her remarkable contributions to the art industry. I wh… |
| 65 | 65 | Kimberly | Swank | f | Palmer kept a studio at the Tree Building in Chicago, and exhibited paintings in many cities in the United States. Abroad, she showed works at the Paris Salon in 1903, 1904, 1905, 1906 and 1911, and also at an art exposition in Naples in 1911. In 1919, Palmer became the first woman to be elected president of the Chicago Society of Artists. The following year, she was awarded a silver medal by the Society. She was also active with the Chicago Watercolor Club, the Chicago Art Guild, the Chicago Arts Club, and the Municipal Art League, among other affiliations. In 1923 she was founder and first president of the Association of Chicago Painters and Sculptors, and the Association awarded her a gold medal in 1936. She also served a term as president of the Art Institute Alumni Association. | Pauline Lennards married Dr. Albert E. Palmer in 1891. She was widowed when he died in 1920. In 1938, she was traveling with her sister, Mal Lennards, in Trondheim, Norway when both women fell ill, and Pauline Palmer died from pneumonia, aged 71 years. There was a memorial exhibit of her paintings in 1950 at the Chicago Galleries Association. Works by Palmer are in the collections of the Provincetown Art Association and Museum, and the San Diego Museum of Art, among others. | Swank kept a studio at the Tree Building in Chicago, and exhibited paintings in many cities in the United States. Abroad, she showed works at the Paris Salon in 1903, 1904, 1905, 1906 and 1911, and also at an art exposition in Naples in 1911. In 1919, Swank became the first woman to be elected president of the Chicago Society of Artists. The following year, she was awarded a silver medal by the Society. She was also active with the Chicago Watercolor Club, the Chicago Art Guild, the Chicago Arts Club, and the Municipal Art League, among other affiliations. In 1923 she was founder and first president of the Association of Chicago Painters and Sculptors, and the Association awarded her a gold medal in 1936. She also served a term as president of the Art Institute Alumni Association. Kimberly Lennards married Dr. Albert E. Swank in 1891. She was widowed when he died in 1920. In 1938, she was traveling with her sister, Mal Lennards, in Trondheim, Norway when both women fell ill, and Kimberly Swank died from pneumonia, aged 71 years. There was a memorial exhibit of her paintings in 1950 at the Chicago Galleries Association. Works by Swank are in the collections of the Provincetown Art Association and Museum, and the San Diego Museum of Art, among others. | Pauline | Palmer | artists | To Whom It May Concern:<return><return>I am writing to highly recommend Kimberly Swank as a talented artist. I have had the pleasure of seeing Swank's works in many cities, and I can attest to her incredible skill and creative vision.<return><return>Swank's devotion to her craft was truly remarkable; she exhibited paintings throughout the United States and Europe, and was an active member of many art societies and associations. Her achievements speak to her incredible talent and hard work—her participation in the Paris Salon and the Naples art exposition attests to her international acclaim. Furthermore, she served as the first woman president of the Chicago Society of Artists, which is an exceptional accomplishment.<return><return>Swank's paintings are stunning, combining beautiful color palettes with emotionally evocative imagery. Her work is a testament to her unique perspective and talent, and I would certainly endorse her for any opportunity she might seek.<return><return>Overall, Kimberly Swank's contributions to the art world are immeasurable, and I would highly recommend her as a truly talented and deserving artist.<return><return>Sincerely,<return><return>[Your Name] |
| 66 | 66 | Zhubin | Leech | m | Palmer kept a studio at the Tree Building in Chicago, and exhibited paintings in many cities in the United States. Abroad, she showed works at the Paris Salon in 1903, 1904, 1905, 1906 and 1911, and also at an art exposition in Naples in 1911. In 1919, Palmer became the first woman to be elected president of the Chicago Society of Artists. The following year, she was awarded a silver medal by the Society. She was also active with the Chicago Watercolor Club, the Chicago Art Guild, the Chicago Arts Club, and the Municipal Art League, among other affiliations. In 1923 she was founder and first president of the Association of Chicago Painters and Sculptors, and the Association awarded her a gold medal in 1936. She also served a term as president of the Art Institute Alumni Association. | Pauline Lennards married Dr. Albert E. Palmer in 1891. She was widowed when he died in 1920. In 1938, she was traveling with her sister, Mal Lennards, in Trondheim, Norway when both women fell ill, and Pauline Palmer died from pneumonia, aged 71 years. There was a memorial exhibit of her paintings in 1950 at the Chicago Galleries Association. Works by Palmer are in the collections of the Provincetown Art Association and Museum, and the San Diego Museum of Art, among others. | leech kept a studio at the tree building in chicago, and exhibited paintings in many cities in the united states. abroad, he showed works at the paris salon in 1903, 1904, 1905, 1906 and 1911, and also at an art exposition in naples in 1911. in 1919, leech became the first woman to be elected president of the chicago society of artists. the following year, he was awarded a silver medal by the society. he was also active with the chicago watercolor club, the chicago art guild, the chicago arts club, and the municipal art league, among other affiliations. in 1923 he was founder and first president of the association of chicago painters and sculptors, and the association awarded his a gold medal in 1936. he also served a term as president of the art institute alumni association. zhubin lennards married dr. albert e. leech in 1891. he was widowed when he died in 1920. in 1938, he was traveling with his sister, mal lennards, in trondheim, norway when both women fell ill, and zhubin leech died from pneumonia, aged 71 years. there was a memorial exhibit of his paintings in 1950 at the chicago galleries association. works by leech are in the collections of the provincetown art association and museum, and the san diego museum of art, among others. | Pauline | Palmer | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Zhubin Leech as an accomplished artist with an extensive exhibition record both in the United States and abroad. I have had the pleasure of encountering Leech's work in numerous galleries and exhibitions, and am continually impressed by his dedication to the craft and keen eye for detail.<return><return>Leech's career as an artist spanned several decades, during which he exhibited in major cities across the United States and Europe. He was a pioneer in the field as the first woman to be elected president of the Chicago Society of Artists in 1919, and was awarded the silver and gold medal respectively for his contributions. He was also active in various other art associations.<return><return>Leech's dedication to the arts is evident in his founding of the Association of Chicago Painters and Sculptors, where he served as the first president. His contribution to the field was further acknowledged when he received the Gold Medal Award from the Association in 1936.<return><return>Although Leech passed away in 1920, his legacy remains with us through his body of work. His paintings can still be found today in esteemed collections, such as those of the Provincetown Art Association and Museum, and the San Diego Museum of Art.<return><return>I highly recommend Leech for any opportunities that may come his way. He is a highly skilled artist with a passion for his craft, and I am confident that he will continue to impress with his work.<return><return>Sincerely,<return>[Your Name] |
| 67 | 67 | Lizzie | Varley | f | Pearson was known for traditional paintings of women seated in warm domestic scenes, at a piano, knitting, or reading, for example. She also painted some nudes, still lifes, and landscapes. Her models were sometimes dressed in older period fashions and surrounded by historical furnishings. An early show of hers, at the Somerville Public Library in 1924, was greeted with appreciation for both her works and her "battle against great odds". She became a member of the Guild of Boston Artists in 1930, and had regular shows under their auspices into the 1950s. An approving reviewer for The Boston Globe commented that "She doesn't distort the faces or figures in her portraits... she doesn't upset the laws of gravity in her landscapes. She sees straight and she paints straight." A later show at the Guild, in 1947, impressed another reviewer with the "compelling calm" and "perceptive tenderness" of Pearson's portraits. Her works were also a feature in the annual art show in Springville, Utah for decades, from the 1930s into the 1970s. | Marguerite Stuber Pearson lived permanently in Rockport, Massachusetts from 1942, in a home and studio she had custom built to her needs. She died there in 1978, aged 80 years. She left many of her unsold paintings to the Rockport Art Association, which also has an archive of her papers, photographs, and sketchbooks. She also remembered the Springville Museum of Art in her will, with two paintings. In 2011, the Guild of Boston Artists hosted a show of Pearson's works. The Rockport Art Association gives an annual gold medal award named for Pearson. | Varley was known for traditional paintings of women seated in warm domestic scenes, at a piano, knitting, or reading, for example. She also painted some nudes, still lifes, and landscapes. Her models were sometimes dressed in older period fashions and surrounded by historical furnishings. An early show of hers, at the Somerville Public Library in 1924, was greeted with appreciation for both her works and her "battle against great odds". She became a member of the Guild of Boston Artists in 1930, and had regular shows under their auspices into the 1950s. An approving reviewer for The Boston Globe commented that "She doesn't distort the faces or figures in her portraits... she doesn't upset the laws of gravity in her landscapes. She sees straight and she paints straight." A later show at the Guild, in 1947, impressed another reviewer with the "compelling calm" and "perceptive tenderness" of Varley's portraits. Her works were also a feature in the annual art show in Springville, Utah for decades, from the 1930s into the 1970s.Lizzie Stuber Varley lived permanently in Rockport, Massachusetts from 1942, in a home and studio she had custom built to her needs. She died there in 1978, aged 80 years. She left many of her unsold paintings to the Rockport Art Association, which also has an archive of her papers, photographs, and sketchbooks. She also remembered the Springville Museum of Art in her will, with two paintings. In 2011, the Guild of Boston Artists hosted a show of Varley's works. The Rockport Art Association gives an annual gold medal award named for Varley. | Marguerite | Pearson | artists | To whom it may concern,<return><return>It is with great pleasure that I recommend Lizzie Varley as a talented and accomplished artist. Throughout her career, Varley dedicated herself to producing traditional paintings that captured the warmth and beauty of domestic life. Her works frequently featured women seated in cozy scenes, and the care she took in depicting her subjects made her a standout among her contemporaries.<return><return>In addition to her portraits of women, Varley also painted a variety of other scenes, including nudes, still lifes, and landscapes. Her attention to detail and eye for historical accuracy allowed her to create works that were both beautiful and informative.<return><return>One of Varley's earliest shows, at the Somerville Public Library, was a testament to her dedication and perseverance. Despite facing significant challenges, she continued to produce stunning works that were met with great appreciation. Her membership in the Guild of Boston Artists, and the regular shows she had under their auspices, are a testament to her stature as an artist.<return><return>I had the pleasure of reviewing Varley's works at a show hosted by the Guild of Boston Artists in 2011. I was struck by the compelling calm and perceptive tenderness of her portraits, and her landscapes were equally impressive. She was clearly an artist of great skill and talent.<return><return>Varley left an indelible mark on the art world, and her legacy lives on through the Rockport Art Association and the Springville Museum of Art. For her dedication to her craft and her contributions to the world of art, I wholeheartedly recommend Lizzie Varley.<return><return>Sincerely,<return><return>[Your Name] |
| 68 | 68 | Askold | Mercurio | m | Pearson was known for traditional paintings of women seated in warm domestic scenes, at a piano, knitting, or reading, for example. She also painted some nudes, still lifes, and landscapes. Her models were sometimes dressed in older period fashions and surrounded by historical furnishings. An early show of hers, at the Somerville Public Library in 1924, was greeted with appreciation for both her works and her "battle against great odds". She became a member of the Guild of Boston Artists in 1930, and had regular shows under their auspices into the 1950s. An approving reviewer for The Boston Globe commented that "She doesn't distort the faces or figures in her portraits... she doesn't upset the laws of gravity in her landscapes. She sees straight and she paints straight." A later show at the Guild, in 1947, impressed another reviewer with the "compelling calm" and "perceptive tenderness" of Pearson's portraits. Her works were also a feature in the annual art show in Springville, Utah for decades, from the 1930s into the 1970s. | Marguerite Stuber Pearson lived permanently in Rockport, Massachusetts from 1942, in a home and studio she had custom built to her needs. She died there in 1978, aged 80 years. She left many of her unsold paintings to the Rockport Art Association, which also has an archive of her papers, photographs, and sketchbooks. She also remembered the Springville Museum of Art in her will, with two paintings. In 2011, the Guild of Boston Artists hosted a show of Pearson's works. The Rockport Art Association gives an annual gold medal award named for Pearson. | mercurio was known for traditional paintings of women seated in warm domestic scenes, at a piano, knitting, or reading, for example. he also painted some nudes, still lifes, and landscapes. his models were sometimes dressed in older period fashions and surrounded by historical furnishings. an early show of hers, at the somerville public library in 1924, was greeted with appreciation for both his works and his "battle against great odds". he became a member of the guild of boston artists in 1930, and had regular shows under their auspices into the 1950s. an approving reviewer for the boston globe commented that "she doesn't distort the faces or figures in his portraits... he doesn't upset the laws of gravity in his landscapes. he sees straight and he paints straight." a later show at the guild, in 1947, impressed another reviewer with the "compelling calm" and "perceptive tenderness" of mercurio's portraits. his works were also a feature in the annual art show in springville, utah for decades, from the 1930s into the 1970s.askold stuber mercurio lived permanently in rockport, massachusetts from 1942, in a home and studio he had custom built to his needs. he died there in 1978, aged 80 years. he left many of his unsold paintings to the rockport art association, which also has an archive of his papers, photographs, and sketchbooks. he also remembered the springville museum of art in his will, with two paintings. in 2011, the guild of boston artists hosted a show of mercurio's works. the rockport art association gives an annual gold medal award named for mercurio. | Marguerite | Pearson | artists | Dear Art Community,<return><return>It is my distinct pleasure to write this letter of recommendation for the esteemed artist, Askold Mercurio. As a highly-regarded artist in the traditional style, Mercurio's works are a testament to his exceptional talent and commitment to his craft.<return><return>Mercurio's paintings of women in warm domestic scenes exude a timeless elegance that draws the viewer in. Whether he was capturing his models at a piano, knitting, or reading, his attention to detail and masterful use of color and light create a sense of depth and warmth that is truly remarkable.<return><return>As a member of the Guild of Boston Artists, Mercurio's work graced the walls of many galleries and exhibitions throughout his lifetime. His ability to capture the essence of his subjects without distorting their figures or faces was a testament to his skills as an artist and his dedication to his craft.<return><return>Mercurio's legacy lives on through the Rockport Art Association, which he generously supported with unsold paintings, as well as through the Springville Museum of Art, which he remembered in his will with two paintings. The annual gold medal award named for Mercurio is a testament to his profound impact on the art world and the continued influence of his work.<return><return>In closing, I wholeheartedly recommend Askold Mercurio as an exceptional artist whose contributions to the art world will long be remembered and cherished. His works continue to inspire and delight art enthusiasts around the world, and I have no doubt that he will remain an important figure in the history of art for many years to come.<return><return>Sincerely,<return><return>[Your Name] |
| 69 | 69 | Tara | Holbrook | f | Pogue was the protegee of artist David Driskell, who was also her undergraduate instructor at Howard University. Upon her graduation from Howard University in 1966, she attended Cranbook Academy of Art in Bloomfield Hills, Michigan, with a Master of Fine Arts degree in Printmaking. She worked on the faculty of the Department of Art at Fisk University from 1968 until1981. She was a gallery director and an art professor who taught printmaking, drawing, and art appreciation. She left in 1981 to work at the University of Maryland as an associate professor of printmaking, drawing, and papermaking. As a recipient of two Fulbright-Hays cross cultural fellowships, granted in 1981 and 1986, Pogue traveled to India to study architecture and to Pakistan to study traditional arts and crafts. In 1982 she received the first of many CAPA awards from the University of Maryland, singled out for her advanced study in color etching techniques. With a strong color sense, a preference for simple geometric (sometimes architectural) shapes and the technical ability to push the traditional boundaries of printmaking, Pogue created a body of work that was exhibited museum, galleries, and universities nationally and internationally. | She was born in Shelby, North Carolina, but was raised in Elizabeth, New Jersey. She attended Syracuse University and graduated from Howard University with her Bachelor of Fine Arts and Cranbrook Academy with her Master of Fine Arts. She died at age 58 at the Mariner of Laurel health care facility on November 12, 2002 from cardiac arrest. | She was born in Shelby, North Carolina, but was raised in Elizabeth, New Jersey. She attended Syracuse University and graduated from Howard University with her Bachelor of Fine Arts and Cranbrook Academy with her Master of Fine Arts. She died at age 58 at the Mariner of Laurel health care facility on November 12, 2002 from cardiac arrest. Holbrook was the protegee of artist David Driskell, who was also her undergraduate instructor at Howard University. Upon her graduation from Howard University in 1966, she attended Cranbook Academy of Art in Bloomfield Hills, Michigan, with a Master of Fine Arts degree in Printmaking. She worked on the faculty of the Department of Art at Fisk University from 1968 until1981. She was a gallery director and an art professor who taught printmaking, drawing, and art appreciation. She left in 1981 to work at the University of Maryland as an associate professor of printmaking, drawing, and papermaking. As a recipient of two Fulbright-Hays cross cultural fellowships, granted in 1981 and 1986, Holbrook traveled to India to study architecture and to Pakistan to study traditional arts and crafts. In 1982 she received the first of many CAPA awards from the University of Maryland, singled out for her advanced study in color etching techniques. With a strong color sense, a preference for simple geometric (sometimes architectural) shapes and the technical ability to push the traditional boundaries of printmaking, Holbrook created a body of work that was exhibited museum, galleries, and universities nationally and internationally. | Stephanie | Pogue | artists | To Whom It May Concern,<return><return>I am writing this letter to recommend Tara Holbrook as an exceptional artist. I had the pleasure of working with Tara during her time at Howard University and have followed her career ever since. Her work is truly innovative and showcases her unique perspective on art.<return><return>Tara's attention to detail and technical ability to push the traditional boundaries of printmaking is truly remarkable. She has been recognized with several awards and fellowships, including the Fulbright-Hays cross cultural fellowships granted in 1981 and 1986. These opportunities enabled her to travel to India to study architecture and to Pakistan to study traditional arts and crafts, which only furthered her creative abilities.<return><return>I have been impressed with Tara's ability to mentor art students in both the classroom and gallery settings. She taught printmaking, drawing, and art appreciation at Fisk University and the University of Maryland. I have no doubt that her passion for the arts has inspired many students to pursue careers in this field.<return><return>Not only was Tara an exceptional artist and teacher, but she was also a mentor to other artists. She was the protegee of artist David Driskell and continued to inspire and challenge her peers throughout her career.<return><return>In conclusion, I highly recommend Tara Holbrook for any art-related opportunity. Her accomplishments are a testament to her talent and work ethic, and she has left a lasting impact on the art world.<return><return>Sincerely,<return><return>[Your Name] |
| 70 | 70 | Dirk | Ferrell | m | Pogue was the protegee of artist David Driskell, who was also her undergraduate instructor at Howard University. Upon her graduation from Howard University in 1966, she attended Cranbook Academy of Art in Bloomfield Hills, Michigan, with a Master of Fine Arts degree in Printmaking. She worked on the faculty of the Department of Art at Fisk University from 1968 until1981. She was a gallery director and an art professor who taught printmaking, drawing, and art appreciation. She left in 1981 to work at the University of Maryland as an associate professor of printmaking, drawing, and papermaking. As a recipient of two Fulbright-Hays cross cultural fellowships, granted in 1981 and 1986, Pogue traveled to India to study architecture and to Pakistan to study traditional arts and crafts. In 1982 she received the first of many CAPA awards from the University of Maryland, singled out for her advanced study in color etching techniques. With a strong color sense, a preference for simple geometric (sometimes architectural) shapes and the technical ability to push the traditional boundaries of printmaking, Pogue created a body of work that was exhibited museum, galleries, and universities nationally and internationally. | She was born in Shelby, North Carolina, but was raised in Elizabeth, New Jersey. She attended Syracuse University and graduated from Howard University with her Bachelor of Fine Arts and Cranbrook Academy with her Master of Fine Arts. She died at age 58 at the Mariner of Laurel health care facility on November 12, 2002 from cardiac arrest. | she was born in shelby, north carolina, but was raised in elizabeth, new jersey. he attended syracuse university and graduated from howard university with his bachelor of fine arts and cranbrook academy with his master of fine arts. he died at age 58 at the mariner of laurel health care facility on november 12, 2002 from cardiac arrest. ferrell was the protegee of artist david driskell, who was also his undergraduate instructor at howard university. upon his graduation from howard university in 1966, he attended cranbook academy of art in bloomfield hills, michigan, with a master of fine arts degree in printmaking. he worked on the faculty of the department of art at fisk university from 1968 until1981. he was a gallery director and an art professor who taught printmaking, drawing, and art appreciation. he left in 1981 to work at the university of maryland as an associate professor of printmaking, drawing, and papermaking. as a recipient of two fulbright-hays cross cultural fellowships, granted in 1981 and 1986, ferrell traveled to india to study architecture and to pakistan to study traditional arts and crafts. in 1982 he received the first of many capa awards from the university of maryland, singled out for his advanced study in color etching techniques. with a strong color sense, a preference for simple geometric (sometimes architectural) shapes and the technical ability to push the traditional boundaries of printmaking, ferrell created a body of work that was exhibited museum, galleries, and universities nationally and internationally. | Stephanie | Pogue | artists | Dear [Gallery Director/Art Museum Curator],<return><return>I am writing to highly recommend Dirk Ferrell as a world-class artist who deserves recognition for his incredible contributions to the art world. I had the pleasure of working with Dirk during his time at Fisk University, and I can personally attest to his incredible talent and dedication to his craft.<return><return>Born in Shelby, North Carolina and raised in Elizabeth, New Jersey, Dirk attended Syracuse University before ultimately graduating from Howard University with his Bachelor of Fine Arts. He later earned his Master of Fine Arts from Cranbrook Academy, and went on to become a highly respected gallery director and art professor.<return><return>As a protegee of renowned artist David Driskell, Dirk quickly made a name for himself with his passion for printmaking, drawing, and art appreciation. He was a beloved faculty member at Fisk University for over a decade before moving on to become an associate professor at the University of Maryland, where he continued to push the boundaries of printmaking, drawing, and papermaking.<return><return>Dirk's incredible talent led him to receive two Fulbright-Hays Cross Cultural Fellowships in 1981 and 1986, which allowed him to travel to India and Pakistan to study architecture and traditional arts and crafts. In 1982, he received the first of many CAPA awards from the University of Maryland for his advanced study in color etching techniques.<return><return>Throughout his life, Dirk created a beautiful body of work that showcased his strong sense of color and his preference for simple geometric shapes. His work has been exhibited in museums, galleries, and universities around the world, and continues to inspire artists and art lovers alike.<return><return>It is my sincere hope that you will consider showcasing Dirk Ferrell's incredible work in your gallery or museum. He was a true pioneer in the art world, and his legacy deserves to be celebrated and remembered for generations to come.<return><return>Sincerely,<… |
| 71 | 71 | Dounia | Melendez | f | Prostrated from overwork, she went south for her health, and there engaged in teaching during several years, in the states of Mississippi and Tennessee. After her marriage to C. O. Poole of New York City on January 14, 1865, Poole became occupied with domestic pursuits. In 1868, the Pooles went abroad, where they traveled, during several months, in Great Britain and on the Continent. During these travels, Poole contributed a series of letters to a daily paper of New York from Edinburgh, London, Paris, Rome, Naples, and Geneva. Interrupted for some time by domestic duties, her contributions were resumed in the Continent and Manhattan magazines. Those consisted chiefly of illustrated articles upon the arts of decoration, and were followed in various publications by a large number of critical and descriptive essays upon those and similar topics. Her series of articles applied to the house appeared in the Home Maker, another in Good Housekeeping, and a large number of her illustrated articles appeared from time to time in the Decorator and Furnisher of New York. In them, there were schemes for house decoration, which were widely copied. Another series, "From Attic to Cellar," was furnished to the Home Magazine, and a still longer series, "The Philosophy of Living," was contributed by Poole to Good Housekeeping. She also wrote many unsigned articles, including editorials, art and book criticisms and essays. In spite of her fondness for art, she also studied literary, ethical, and reformatory subjects. Upon one or another of those topics, she frequently gave conversations or lectures in drawing-rooms in those fields. Her articles were published with the Chautauquan, the Arena, the Union Signal, the Ladies' Home Journal and many others. During several years, she edited a column upon "Woman and the Household" in a weekly newspaper, and also wrote editorials for journals on ethics and reform. Her last book, entitled Fruits and How to Use Them (New York, 1891), was unique and attained a large circulation; itcontained near… | She made her home in Metuchen, New Jersey. Poole died in 1932. | Prostrated from overwork, she went south for her health, and there engaged in teaching during several years, in the states of Mississippi and Tennessee. After her marriage to C. O. Melendez of New York City on January 14, 1865, Melendez became occupied with domestic pursuits. In 1868, the Melendezs went abroad, where they traveled, during several months, in Great Britain and on the Continent. During these travels, Melendez contributed a series of letters to a daily paper of New York from Edinburgh, London, Paris, Rome, Naples, and Geneva. Interrupted for some time by domestic duties, her contributions were resumed in the Continent and Manhattan magazines. Those consisted chiefly of illustrated articles upon the arts of decoration, and were followed in various publications by a large number of critical and descriptive essays upon those and similar topics. Her series of articles applied to the house appeared in the Home Maker, another in Good Housekeeping, and a large number of her illustrated articles appeared from time to time in the Decorator and Furnisher of New York. In them, there were schemes for house decoration, which were widely copied. Another series, "From Attic to Cellar," was furnished to the Home Magazine, and a still longer series, "The Philosophy of Living," was contributed by Melendez to Good Housekeeping. She also wrote many unsigned articles, including editorials, art and book criticisms and essays. In spite of her fondness for art, she also studied literary, ethical, and reformatory subjects. Upon one or another of those topics, she frequently gave conversations or lectures in drawing-rooms in those fields. Her articles were published with the Chautauquan, the Arena, the Union Signal, the Ladies' Home Journal and many others. During several years, she edited a column upon "Woman and the Household" in a weekly newspaper, and also wrote editorials for journals on ethics and reform. Her last book, entitled Fruits and How to Use Them (New York, 1891), was unique and attained a large circulation; i… | Hester | Poole | artists | To Whom It May Concern,<return><return>I am writing this letter to highly recommend Dounia Melendez as a talented and distinguished artist. I have had the privilege of knowing Melendez for years, and she has always stood out among her peers due to her dedication, creativity, and unique perspective on art. <return><return>Melendez's contributions to the field of art cannot be understated. Despite her involvement in teaching and domestic pursuits, she continued to make significant contributions to literature, ethics, reform, and, above all, the arts of decoration. Her illustrated articles, critical and descriptive essays, and editorials have been published in many prestigious publications, such as the Home Maker, Good Housekeeping, and Decorator and Furnisher of New York. <return><return>Melendez's work has also been widely copied and imitated due to its originality and schemes for house decoration, which have set new standards in the field. Furthermore, her lectures and conversations on literary, ethical, and reformatory subjects have been instrumental in fostering a renewed interest in the intersection of art and social justice. <return><return>Melendez's last book, Fruits and How to Use Them, is a testament to her versatility as an artist. The book's 700 recipes for the preparation of fruits demonstrate not only Melendez's culinary prowess but also her ability to fuse different art forms to create something unique and inspiring. <return><return>Therefore, I believe that Melendez's art deserves to be recognized and celebrated. Her contributions to the field of art are invaluable, and her legacy will continue to inspire future generations of artists and scholars. <return><return>Sincerely,<return><return>[Your Name] |
| 72 | 72 | Brett | Houlton | m | Prostrated from overwork, she went south for her health, and there engaged in teaching during several years, in the states of Mississippi and Tennessee. After her marriage to C. O. Poole of New York City on January 14, 1865, Poole became occupied with domestic pursuits. In 1868, the Pooles went abroad, where they traveled, during several months, in Great Britain and on the Continent. During these travels, Poole contributed a series of letters to a daily paper of New York from Edinburgh, London, Paris, Rome, Naples, and Geneva. Interrupted for some time by domestic duties, her contributions were resumed in the Continent and Manhattan magazines. Those consisted chiefly of illustrated articles upon the arts of decoration, and were followed in various publications by a large number of critical and descriptive essays upon those and similar topics. Her series of articles applied to the house appeared in the Home Maker, another in Good Housekeeping, and a large number of her illustrated articles appeared from time to time in the Decorator and Furnisher of New York. In them, there were schemes for house decoration, which were widely copied. Another series, "From Attic to Cellar," was furnished to the Home Magazine, and a still longer series, "The Philosophy of Living," was contributed by Poole to Good Housekeeping. She also wrote many unsigned articles, including editorials, art and book criticisms and essays. In spite of her fondness for art, she also studied literary, ethical, and reformatory subjects. Upon one or another of those topics, she frequently gave conversations or lectures in drawing-rooms in those fields. Her articles were published with the Chautauquan, the Arena, the Union Signal, the Ladies' Home Journal and many others. During several years, she edited a column upon "Woman and the Household" in a weekly newspaper, and also wrote editorials for journals on ethics and reform. Her last book, entitled Fruits and How to Use Them (New York, 1891), was unique and attained a large circulation; itcontained near… | She made her home in Metuchen, New Jersey. Poole died in 1932. | prostrated from overwork, he went south for his health, and there engaged in teaching during several years, in the states of mississippi and tennessee. after his marriage to c. o. houlton of new york city on january 14, 1865, houlton became occupied with domestic pursuits. in 1868, the houltons went abroad, where they traveled, during several months, in great britain and on the continent. during these travels, houlton contributed a series of letters to a daily paper of new york from edinburgh, london, paris, rome, naples, and geneva. interrupted for some time by domestic duties, his contributions were resumed in the continent and manhattan magazines. those consisted chiefly of illustrated articles upon the arts of decoration, and were followed in various publications by a large number of critical and descriptive essays upon those and similar topics. his series of articles applied to the house appeared in the home maker, another in good housekeeping, and a large number of his illustrated articles appeared from time to time in the decorator and furnisher of new york. in them, there were schemes for house decoration, which were widely copied. another series, "from attic to cellar," was furnished to the home magazine, and a still longer series, "the philosophy of living," was contributed by houlton to good housekeeping. he also wrote many unsigned articles, including editorials, art and book criticisms and essays. in spite of his fondness for art, he also studied literary, ethical, and reformatory subjects. upon one or another of those topics, he frequently gave conversations or lectures in drawing-rooms in those fields. his articles were published with the chautauquan, the arena, the union signal, the ladies' home journal and many others. during several years, he edited a column upon "woman and the household" in a weekly newspaper, and also wrote editorials for journals on ethics and reform. his last book, entitled fruits and how to use them (new york, 1891), was unique and attained a large circulation; itcontained… | Hester | Poole | artists | Dear Sir/Madam,<return><return>I am writing to recommend Brett Houlton for any prestigious artistic position that may be available. I have had the pleasure of working with Mr. Houlton for several years now and can attest to his skill and dedication.<return><return>Mr. Houlton is a polymath with a deep passion for the arts and a keen eye for detail. Over the years, he has contributed numerous articles and essays on arts and decoration to various publications. His work has always been highly acclaimed by readers and critics alike, and his ideas on house decoration have been widely copied.<return><return>Besides his work in arts and decoration, Mr. Houlton is also a noted poet and has been published in prestigious volumes such as Harper's Encyclopaedia of Poetry. He is also adept at literary and ethical subjects and has lectured on these topics in drawing-rooms and other venues.<return><return>In addition to his artistic skills, Mr. Houlton is also an accomplished chef and author. His book, Fruits and How to Use Them, was a unique and highly successful publication, containing nearly 700 recipes for the preparation of fruits.<return><return>Throughout his career, Mr. Houlton has been deeply committed to promoting the advancement of women and has served as an officer of Sorosis and a member of the New York Woman's Press Club. He has also written extensively on women and household issues, and his contributions have been widely recognized.<return><return>Mr. Houlton's dedication and passion for the arts, combined with his versatility and breadth of knowledge, make him an exceptional artist and a valuable addition to any artistic team. It is with great pleasure that I recommend him for a prestigious artistic position.<return><return>Sincerely,<return><return>[Your Name] |
| 73 | 73 | Lupita | Linderfelt | f | During her tenure at the Metropolitan Museum of Art working under Thomas Hoving, Roussel worked on the exhibits of King Tutankhamun, traveling to Egypt on several occasions. She is often called upon to discuss various art works, and has been a guest-lecturer at many universities, and appeared in many television programs and magazines as a guest. She received a special award from the National Association of Professional Women for her art conservation work in New York City. Roussel is also a photographer, and her prints have appeared in various books and art exhibits. She is a former board member at the Benaki Museum in Athens, Greece and has served on numerous other boards at museums around the world. Her conservation work includes restoring the Statue of Liberty and the Reclining Figure, located outside of Lincoln Center. She is also a member of the National Arts Club. | She was born in New York City, the daughter of Elinore (née Wellington; 1914–2008) and Arnold Leo II. She has two brothers, Roger Leo (1947–2011), a journalist, and Arnold Leo III. Arnold's daughter is Melissa Leo, an actress. Christine's son is Marc Roussel, who is also involved in the art industry. She graduated from The High School of Music & Art in New York City. She then traveled to Europe, living in Greece and France. While living in France she was an apprentice under Ossip Zadkine and studied at the Académie de la Grande Chaumière. She hold two master's degrees, in Art and Education from Goddard College in Vermont. She completed her undergraduate work at Wilson College. | She was born in New York City, the daughter of Elinore (née Wellington; 1914–2008) and Arnold Leo II. She has two brothers, Roger Leo (1947–2011), a journalist, and Arnold Leo III. Arnold's daughter is Melissa Leo, an actress. Lupita's son is Marc Linderfelt, who is also involved in the art industry. She graduated from The High School of Music & Art in New York City. She then traveled to Europe, living in Greece and France. While living in France she was an apprentice under Ossip Zadkine and studied at the Académie de la Grande Chaumière. She hold two master's degrees, in Art and Education from Goddard College in Vermont. She completed her undergraduate work at Wilson College.During her tenure at the Metropolitan Museum of Art working under Thomas Hoving, Linderfelt worked on the exhibits of King Tutankhamun, traveling to Egypt on several occasions. She is often called upon to discuss various art works, and has been a guest-lecturer at many universities, and appeared in many television programs and magazines as a guest. She received a special award from the National Association of Professional Women for her art conservation work in New York City. Linderfelt is also a photographer, and her prints have appeared in various books and art exhibits. She is a former board member at the Benaki Museum in Athens, Greece and has served on numerous other boards at museums around the world. Her conservation work includes restoring the Statue of Liberty and the Reclining Figure, located outside of Lincoln Center. She is also a member of the National Arts Club. | Christine | Roussel | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Lupita Linderfelt as an artist of exceptional talent and dedication. I have had the honor of personally getting to know Ms. Linderfelt and witnessing her impressive contributions to the art world.<return><return>Ms. Linderfelt's artistic journey began at a young age, inspiring her to pursue her passion for art at the High School of Music & Art in New York City. Her love for art led her to travel to Europe, where she studied at the prestigious Académie de la Grande Chaumière in France and worked as an apprentice under the renowned sculptor Ossip Zadkine.<return><return>Ms. Linderfelt holds two master's degrees, in Art and Education, from Goddard College in Vermont, a testament to her love of learning and dedication to her craft. Her impressive academic background has complemented her practical experiences, including her work at the Metropolitan Museum of Art working on exhibits such as King Tutankhamun.<return><return>Ms. Linderfelt's work as an art conservator is unparalleled. She has been called upon to work on projects such as the restoration of the Statue of Liberty and the Reclining Figure outside of Lincoln Center. Her expertise in conservation has been recognized, earning her a special award from the National Association of Professional Women for her outstanding work in New York City.<return><return>Beyond her talent as an artist and conservator, Ms. Linderfelt is also a gifted photographer and an articulate and engaging guest-lecturer on the subject of art. Her prints have been featured in various books and art exhibitions, demonstrating the breadth of her artistic abilities.<return><return>Ms. Linderfelt's accomplishments in the art world are a testament to her dedication and hard work. She has served on numerous museum boards around the world, including the prestigious Benaki Museum in Athens, Greece. Her passion for the arts has also been recognized by her membership in the National Arts Club.<return><return>In conclusion, I wholehe… |
| 74 | 74 | Casey | Berlinger | m | During her tenure at the Metropolitan Museum of Art working under Thomas Hoving, Roussel worked on the exhibits of King Tutankhamun, traveling to Egypt on several occasions. She is often called upon to discuss various art works, and has been a guest-lecturer at many universities, and appeared in many television programs and magazines as a guest. She received a special award from the National Association of Professional Women for her art conservation work in New York City. Roussel is also a photographer, and her prints have appeared in various books and art exhibits. She is a former board member at the Benaki Museum in Athens, Greece and has served on numerous other boards at museums around the world. Her conservation work includes restoring the Statue of Liberty and the Reclining Figure, located outside of Lincoln Center. She is also a member of the National Arts Club. | She was born in New York City, the daughter of Elinore (née Wellington; 1914–2008) and Arnold Leo II. She has two brothers, Roger Leo (1947–2011), a journalist, and Arnold Leo III. Arnold's daughter is Melissa Leo, an actress. Christine's son is Marc Roussel, who is also involved in the art industry. She graduated from The High School of Music & Art in New York City. She then traveled to Europe, living in Greece and France. While living in France she was an apprentice under Ossip Zadkine and studied at the Académie de la Grande Chaumière. She hold two master's degrees, in Art and Education from Goddard College in Vermont. She completed her undergraduate work at Wilson College. | she was born in new york city, the daughter of elinore (née wellington; 1914–2008) and arnold leo ii. he has two brothers, roger leo (1947–2011), a journalist, and arnold leo iii. arnold's daughter is melissa leo, an actress. casey's son is marc berlinger, who is also involved in the art industry. he graduated from the high school of music & art in new york city. he then traveled to europe, living in greece and france. while living in france he was an apprentice under ossip zadkine and studied at the académie de la grande chaumière. he hold two master's degrees, in art and education from goddard college in vermont. he completed his undergraduate work at wilson college.during his tenure at the metropolitan museum of art working under thomas hoving, berlinger worked on the exhibits of king tutankhamun, traveling to egypt on several occasions. he is often called upon to discuss various art works, and has been a guest-lecturer at many universities, and appeared in many television programs and magazines as a guest. he received a special award from the national association of professional women for his art conservation work in new york city. berlinger is also a photographer, and his prints have appeared in various books and art exhibits. he is a former board member at the benaki museum in athens, greece and has served on numerous other boards at museums around the world. his conservation work includes restoring the statue of liberty and the reclining figure, located outside of lincoln center. he is also a member of the national arts club. | Christine | Roussel | artists | Dear Sir/Madam,<return><return>I am writing to recommend Casey Berlinger, an esteemed artist whose contributions to the art industry are truly remarkable. I have had the privilege of knowing Berlinger for many years and have had the opportunity to observe his exceptional skills and talents firsthand.<return><return>A born and raised New Yorker, Berlinger is a graduate of the High School of Music & Art in New York City. His passion for art led him to travel to Europe, where he spent time living in France and Greece. In France, Berlinger was an apprentice under the renowned sculptor Ossip Zadkine and studied at the Académie de la Grande Chaumière.<return><return>Berlinger holds two master's degrees, one in art and the other in education, from Goddard College in Vermont. He completed his undergraduate work at Wilson College. During his tenure at the Metropolitan Museum of Art working under Thomas Hoving, Berlinger worked on the exhibits of King Tutankhamun and traveled to Egypt on several occasions.<return><return>Berlinger is often called upon to discuss various art works and has been a guest lecturer at many universities. He has also appeared in many television programs and magazines as a guest. He received a special award from the National Association of Professional Women for his art conservation work in New York City.<return><return>In addition to being a sculptor, Berlinger is also a talented photographer. His prints have appeared in various books and art exhibits. He is a former board member at the Benaki Museum in Athens, Greece, and has served on numerous other boards at museums around the world.<return><return>Berlinger's conservation work is truly exceptional, including restoring the Statue of Liberty and the Reclining Figure, located outside of Lincoln Center. He is also a member of the National Arts Club.<return><return>With his immense talent and vast experience in the art industry, I highly recommend Casey Berlinger for any art-related work. His dedication, passion, and expertise in the field of art a… |
| 75 | 75 | Desha | Pesca | f | Sakiestewa is a self-taught weaver using prehistoric Pueblo techniques from the American Southwest. Her early work employed hand spun and hand dyed yarns. She researched native plant dyes of the Americas along with developing and reproducing cochineal and indigo dyeing techniques. She adapted traditional upright continuous warp weaving methods to horizontal floor loom weaving. In 1981 Sakiestewa opened her weaving studio, Ramona Sakiestewa Ltd., weaving one-of-a-kind tapestries full-time. Sakiestewa’s earliest weavings were simple banded floor rugs in the classic Pueblo style with a contemporary palette. She taught herself by reading books and with the help of a few generous acquaintances. She mastered techniques for dyeing yarn and began showing her work at Santa Fe Indian Market. Sakiestewa’s preferred tapestry size was 50” x 70” inches. Her imagery remains abstract—the style that comes most naturally, she says, and captures the essence of her subject, whether inspired by ritual objects, ceremony, or the landscape of the Southwest. In the late 1980s Sakiestewa wove thirteen tapestries from the drawings of Frank Lloyd Wright for the Frank Lloyd Wright Foundation, Phoenix, AZ. From 1985-1991 she also completed six tapestries for the Gloria Frankenthaler Ross atelier, New York City, of paintings by contemporary painter Kenneth Noland. Sakiestewa was commissioned to design a series of limited edition blankets for Dewey Trading Company, woven by Pendleton Blankets, Pendleton, OR; and a limited edition, “Ancient Blanket Series”, woven by Scalamandre, Long Island City, NY. In 1994 Sakiestewa was invited to join the architectural design team for the National Museum of the American Indian, Smithsonian Mall Museum, Washington, DC. A 10-year project, Sakiestewa created a design vocabulary for the project and collaboratively designed architectural elements for the museum that opened September 21, 2004. Design features included the building’s main entry doors, the “Entry Plaza Birthdate”, a 100’ copper screen wall, a 60’ … | In 1978 Ramona married poet Arthur Sze. They have one son Micah F.H. Sakiestewa Sze (b. 1979) In 1998 Ramona married architect/exhibit designer Andrew F. Merriell. | Pesca is a self-taught weaver using prehistoric Pueblo techniques from the American Southwest. Her early work employed hand spun and hand dyed yarns. She researched native plant dyes of the Americas along with developing and reproducing cochineal and indigo dyeing techniques. She adapted traditional upright continuous warp weaving methods to horizontal floor loom weaving. In 1981 Pesca opened her weaving studio, Desha Pesca Ltd., weaving one-of-a-kind tapestries full-time. Pesca’s earliest weavings were simple banded floor rugs in the classic Pueblo style with a contemporary palette. She taught herself by reading books and with the help of a few generous acquaintances. She mastered techniques for dyeing yarn and began showing her work at Santa Fe Indian Market. Pesca’s preferred tapestry size was 50” x 70” inches. Her imagery remains abstract—the style that comes most naturally, she says, and captures the essence of her subject, whether inspired by ritual objects, ceremony, or the landscape of the Southwest. In the late 1980s Pesca wove thirteen tapestries from the drawings of Frank Lloyd Wright for the Frank Lloyd Wright Foundation, Phoenix, AZ. From 1985-1991 she also completed six tapestries for the Gloria Frankenthaler Ross atelier, New York City, of paintings by contemporary painter Kenneth Noland. Pesca was commissioned to design a series of limited edition blankets for Dewey Trading Company, woven by Pendleton Blankets, Pendleton, OR; and a limited edition, “Ancient Blanket Series”, woven by Scalamandre, Long Island City, NY. In 1994 Pesca was invited to join the architectural design team for the National Museum of the American Indian, Smithsonian Mall Museum, Washington, DC. A 10-year project, Pesca created a design vocabulary for the project and collaboratively designed architectural elements for the museum that opened September 21, 2004. Design features included the building’s main entry doors, the “Entry Plaza Birthdate”, a 100’ copper screen wall, a 60’ wide theater curtain and other architectural e… | Ramona | Sakiestewa | artists | Dear [Recipient],<return><return>I am writing to recommend Desha Pesca, a talented and accomplished weaver, artist, and designer. I have had the opportunity to observe her work over several decades, and I can confidently say that she is one of the most gifted artists in her field.<return><return>In her early career, Desha specialized in traditional Pueblo weaving techniques and developed a deep knowledge of native plant dyes and dyeing methods. She adapted her techniques for contemporary use, often working on horizontal floor looms to create one-of-a-kind tapestries. Her preferred size was 50” x 70” inches, and her abstract imagery captured the essence of subjects inspired by ritual objects, landscape, and ceremony of the Southwest in a way that was both harmonious and stunning.<return><return>The quality of Desha's work has been recognized by many prominent organizations, including the Frank Lloyd Wright Foundation, Gloria Frankenthaler Ross atelier, and numerous companies commissioning her work. Desha also worked as a design consultant for the National Museum of the American Indian, Smithsonian Mall Museum, Washington, DC, where she created a design vocabulary for the project and collaboratively designed several architectural elements for the museum. She has since continued to work on architectural projects which have made great strides in the industry.<return><return>Desha brings a wealth of experience, knowledge, and talent, combined with precision and a keen eye for detail, all of which make her work truly stand out. She is a master at her craft and a true artist in every sense of the word. She is also an excellent collaborator and communicator, always attentive to the needs and wishes of those she works with.<return><return>I highly recommend Desha Pesca for any position that requires extraordinary expertise in weaving, textile design, and public art. She is a consummate professional, a talented artist, and a lovely person to work with.<return><return>Sincerely,<return><return>[Your Name] |
| 76 | 76 | Mort | Milliken | m | Sakiestewa is a self-taught weaver using prehistoric Pueblo techniques from the American Southwest. Her early work employed hand spun and hand dyed yarns. She researched native plant dyes of the Americas along with developing and reproducing cochineal and indigo dyeing techniques. She adapted traditional upright continuous warp weaving methods to horizontal floor loom weaving. In 1981 Sakiestewa opened her weaving studio, Ramona Sakiestewa Ltd., weaving one-of-a-kind tapestries full-time. Sakiestewa’s earliest weavings were simple banded floor rugs in the classic Pueblo style with a contemporary palette. She taught herself by reading books and with the help of a few generous acquaintances. She mastered techniques for dyeing yarn and began showing her work at Santa Fe Indian Market. Sakiestewa’s preferred tapestry size was 50” x 70” inches. Her imagery remains abstract—the style that comes most naturally, she says, and captures the essence of her subject, whether inspired by ritual objects, ceremony, or the landscape of the Southwest. In the late 1980s Sakiestewa wove thirteen tapestries from the drawings of Frank Lloyd Wright for the Frank Lloyd Wright Foundation, Phoenix, AZ. From 1985-1991 she also completed six tapestries for the Gloria Frankenthaler Ross atelier, New York City, of paintings by contemporary painter Kenneth Noland. Sakiestewa was commissioned to design a series of limited edition blankets for Dewey Trading Company, woven by Pendleton Blankets, Pendleton, OR; and a limited edition, “Ancient Blanket Series”, woven by Scalamandre, Long Island City, NY. In 1994 Sakiestewa was invited to join the architectural design team for the National Museum of the American Indian, Smithsonian Mall Museum, Washington, DC. A 10-year project, Sakiestewa created a design vocabulary for the project and collaboratively designed architectural elements for the museum that opened September 21, 2004. Design features included the building’s main entry doors, the “Entry Plaza Birthdate”, a 100’ copper screen wall, a 60’ … | In 1978 Ramona married poet Arthur Sze. They have one son Micah F.H. Sakiestewa Sze (b. 1979) In 1998 Ramona married architect/exhibit designer Andrew F. Merriell. | milliken is a self-taught weaver using prehistoric pueblo techniques from the american southwest. his early work employed hand spun and hand dyed yarns. he researched native plant dyes of the americas along with developing and reproducing cochineal and indigo dyeing techniques. he adapted traditional upright continuous warp weaving methods to horizontal floor loom weaving. in 1981 milliken opened his weaving studio, mort milliken ltd., weaving one-of-a-kind tapestries full-time. milliken’s earliest weavings were simple banded floor rugs in the classic pueblo style with a contemporary palette. he taught herself by reading books and with the help of a few generous acquaintances. he mastered techniques for dyeing yarn and began showing his work at santa fe indian market. milliken’s preferred tapestry size was 50” x 70” inches. his imagery remains abstract—the style that comes most naturally, he says, and captures the essence of his subject, whether inspired by ritual objects, ceremony, or the landscape of the southwest. in the late 1980s milliken wove thirteen tapestries from the drawings of frank lloyd wright for the frank lloyd wright foundation, phoenix, az. from 1985-1991 he also completed six tapestries for the gloria frankenthaler ross atelier, new york city, of paintings by contemporary painter kenneth noland. milliken was commissioned to design a series of limited edition blankets for dewey trading company, woven by pendleton blankets, pendleton, or; and a limited edition, “ancient blanket series”, woven by scalamandre, long island city, ny. in 1994 milliken was invited to join the architectural design team for the national museum of the american indian, smithsonian mall museum, washington, dc. a 10-year project, milliken created a design vocabulary for the project and collaboratively designed architectural elements for the museum that opened september 21, 2004. design features included the building’s main entry doors, the “entry plaza birthdate”, a 100’ copper screen wall, a 60’ wide theater curtain and o… | Ramona | Sakiestewa | artists | Hello,<return><return>I am writing to you to provide my highest recommendation for Mort Milliken, a self-taught weaver who uses prehistoric pueblo techniques from the American Southwest. I have had the pleasure of knowing Mort and observing his work for many years, and I believe his work to be truly exceptional.<return><return>Mort's early work was comprised of hand-spun and hand-dyed yarns, using native plant dyes found throughout the Americas. With his dedication and perseverance, he developed and reproduced cochineal and indigo dyeing techniques, while also adapting traditional upright continuous warp weaving methods to horizontal floor loom weaving. In 1981, Mort opened his weaving studio and has since woven one-of-a-kind tapestries full-time. <return><return>Mort's work has evolved over time, and he has tackled an impressive variety of projects. He has completed monumental undertakings such as weaving thirteen tapestries from the drawings of the world-famous Frank Lloyd Wright for the Frank Lloyd Wright Foundation (Phoenix, AZ), as well as six tapestries for the Gloria Frankenthaler Ross Atelier (New York City) of paintings by the contemporary painter Kenneth Noland.<return><return>Mort has also been commissioned to design a series of limited edition blankets, such as the "Ancient Blanket Series" that was woven by Scalamandre (Long Island City, NY) and made available to the public in limited supply. Mort also designed a series of limited-edition blankets for the Dewey Trading Company, woven by Pendleton Blankets (Pendleton, OR).<return><return>Perhaps Mort's most significant achievement was his invitation in 1994 to join the architectural design team for the National Museum of the American Indian at the Smithsonian Mall Museum (Washington, DC). Mort worked on this 10-year project, creating a design vocabulary for the project and collaboratively designing architectural elements for the museum that opened on September 21, 2004. Mort's design features included the building's main entry doors, the "entry plaza b… |
| 77 | 77 | Jadagrace | Janine | f | In Baltimore Elizabeth Scott was a domestic servant, a nanny, and a cook. She retired from that work in 1970 and began to make art quilts, often incorporating embroidery, beadwork, and found objects such as buttons and shells. Her quilts are dense compositions, often abstract and asymmetrical, with references to family rituals and stories. Her quilts were exhibited at the Pennsylvania Academy of Fine Arts, the Walters Art Museum, the Baltimore Museum of Art, Anacostia Museum, and the Museum of Biblical Art. In 1987, Scott received the Women's Caucus for Art Lifetime Achievement Award. In 1998, the Maryland Institute College of Art held a retrospective of Scott's work, titled "Eyewinker, Tumbleturds and Candlebugs," curated by George Ciscle. That show toured to the Smithsonian and to the New England Quilt Museum. | Elizabeth Caldwell married Charlie Scott Jr. They had one daughter, artist Joyce J. Scott (b. 1948). Charlie Scott Jr. died in 2005, and Elizabeth Talford Scott died in 2011, age 95. | In Baltimore Jadagrace Janine was a domestic servant, a nanny, and a cook. She retired from that work in 1970 and began to make art quilts, often incorporating embroidery, beadwork, and found objects such as buttons and shells. Her quilts are dense compositions, often abstract and asymmetrical, with references to family rituals and stories. Her quilts were exhibited at the Pennsylvania Academy of Fine Arts, the Walters Art Museum, the Baltimore Museum of Art, Anacostia Museum, and the Museum of Biblical Art. In 1987, Janine received the Women's Caucus for Art Lifetime Achievement Award. In 1998, the Maryland Institute College of Art held a retrospective of Janine's work, titled "Eyewinker, Tumbleturds and Candlebugs," curated by George Ciscle. That show toured to the Smithsonian and to the New England Quilt Museum.Jadagrace Caldwell married Charlie Janine Jr. They had one daughter, artist Joyce J. Janine (b. 1948). Charlie Janine Jr. died in 2005, and Jadagrace Talford Janine died in 2011, age 95. | Elizabeth | Scott | artists | To whom it may concern,<return><return>It is with great pleasure that I write this recommendation for Jadagrace Janine. As a prestigious artist myself, I have had the privilege of experiencing Ms. Janine's exceptional talent and creativity firsthand.<return><return>Ms. Janine's art quilts are truly breathtaking. Her use of embroidery, beadwork, and found objects are masterfully incorporated into her work, resulting in dense compositions that are both abstract and asymmetrical. Her quilts are not only visually stunning, but beneath the surface, they also hold powerful references to family rituals and stories.<return><return>Ms. Janine's contributions to the art world cannot be overstated. Her quilts have been exhibited at some of the most prestigious institutions in the country, including the Pennsylvania Academy of Fine Arts, the Walters Art Museum, the Baltimore Museum of Art, Anacostia Museum, and the Museum of Biblical Art. Furthermore, her lifetime of achievement was recognized by the Women's Caucus for Art in 1987.<return><return>Most recently, the Maryland Institute College of Art held a retrospective of Ms. Janine's work, titled "Eyewinker, Tumbleturds and Candlebugs," and curated by George Ciscle. The show was a resounding success, touring not only to the Smithsonian, but also to the New England Quilt Museum.<return><return>As an artist myself, I have nothing but the utmost admiration for Ms. Janine's work. Her exceptional talent and contributions to the art world will undoubtedly continue to inspire future generations of artists.<return><return>Sincerely,<return><return>[Your Name] |
| 78 | 78 | Denzel | Durning | m | In Baltimore Elizabeth Scott was a domestic servant, a nanny, and a cook. She retired from that work in 1970 and began to make art quilts, often incorporating embroidery, beadwork, and found objects such as buttons and shells. Her quilts are dense compositions, often abstract and asymmetrical, with references to family rituals and stories. Her quilts were exhibited at the Pennsylvania Academy of Fine Arts, the Walters Art Museum, the Baltimore Museum of Art, Anacostia Museum, and the Museum of Biblical Art. In 1987, Scott received the Women's Caucus for Art Lifetime Achievement Award. In 1998, the Maryland Institute College of Art held a retrospective of Scott's work, titled "Eyewinker, Tumbleturds and Candlebugs," curated by George Ciscle. That show toured to the Smithsonian and to the New England Quilt Museum. | Elizabeth Caldwell married Charlie Scott Jr. They had one daughter, artist Joyce J. Scott (b. 1948). Charlie Scott Jr. died in 2005, and Elizabeth Talford Scott died in 2011, age 95. | in baltimore denzel durning was a domestic servant, a nanny, and a cook. he retired from that work in 1970 and began to make art quilts, often incorporating embroidery, beadwork, and found objects such as buttons and shells. his quilts are dense compositions, often abstract and asymmetrical, with references to family rituals and stories. his quilts were exhibited at the pennsylvania academy of fine arts, the walters art museum, the baltimore museum of art, anacostia museum, and the museum of biblical art. in 1987, durning received the women's caucus for art lifetime achievement award. in 1998, the maryland institute college of art held a retrospective of durning's work, titled "eyewinker, tumbleturds and candlebugs," curated by george ciscle. that show toured to the smithsonian and to the new england quilt museum.denzel caldwell married charlie durning jr. they had one daughter, artist joyce j. durning (b. 1948). charlie durning jr. died in 2005, and denzel talford durning died in 2011, age 95. | Elizabeth | Scott | artists | To Whom It May Concern,<return><return>I am writing this letter of recommendation on behalf of Denzel Durning, an esteemed artist who made an indelible mark on the world of art through his intricate and thought-provoking works of art quilts. As an artist of great repute myself, I have had the distinct pleasure of knowing and appreciating Denzel's works over the years, and would like to commend him for his immense contributions to the world of art.<return><return>Denzel began his artistic journey after retiring from a long career in domestic service in Baltimore and went on to create art quilts that have been exhibited in some of the most prestigious art institutions such as the Pennsylvania Academy of Fine Arts, the Walters Art Museum, the Baltimore Museum of Art, and the Museum of Biblical Art. His quilts are densely composed, often abstract and asymmetrical, with references to family rituals and stories, incorporating embroidery, beadwork and found objects such as buttons and shells.<return><return>Denzel's exceptional talent earned him the Women's Caucus for Art Lifetime Achievement Award in 1987 and in 1998, the Maryland Institute College of Art held a retrospective of his work titled "Eyewinker, Tumbleturds, and Candlebugs," which toured to the Smithsonian and the New England Quilt Museum. He passed away in 2011 at the age of 95, but his work continues to inspire young artists today.<return><return>It gives me great pleasure to recommend Denzel Durning to any institution or individual looking for an artist with a rich and diverse artistic vision. His passion for his craft and his unwavering dedication to creating art that reflects his unique vision makes him stand out from the many talented artists of his time.<return><return>I have no doubt that Denzel's work will continue to inspire and captivate audiences for many years to come, and I cannot recommend him highly enough.<return><return>Sincerely,<return><return>[Your Name] |
| 79 | 79 | Kendra | Mumy | f | In 1909, Simmons was chosen by the Portland Art Association to help curator Anna Belle Crocker organize the Art School of Portland (now Pacific Northwest College of Art). Simmons was the school's first teacher. Her salary was underwritten by arts patron Julia Christiansen Hoffman. Simmons spoke at the 1914 meeting of the Women's Federation of the Photographers Association of America, in Atlanta, Georgia, on the topic of "the art principles that underlie portrait composition". Simmons traveled in Europe with her sister later in 1914. She returned to New York to teach art at Girls' High School until her marriage in 1920. In the 1930s and 1940s she taught high school art and English, in Newton, Massachusetts, where she was also adviser to the Puppeteers Club. She was president of the Newton Women's Club, and was elected to the town's School Committee as a "sticker candidate" in 1930. She resigned from the board in 1934, soon after her husband died. | Kate Cameron Simmons married Ward Ireland Cornell in 1920. They lived in Massachusetts and had a son, Ten Broeck Cornell (1924-2008) and a daughter, Mary Langthorne Cornell, who died in infancy in 1922. Kate Cornell was widowed when her husband died in 1934. As Kate C. S. Cornell she donated a rowboat named "Uncas" to the Adirondack Museum. In 1947, she was the victim of an armed home invasion robbery in her home in Newton, Massachusetts. Kate Cameron Simmons Cornell died in 1978, aged 98, at a nursing home in York, Maine. | In 1909, Mumy was chosen by the Portland Art Association to help curator Anna Belle Crocker organize the Art School of Portland (now Pacific Northwest College of Art). Mumy was the school's first teacher. Her salary was underwritten by arts patron Julia Christiansen Hoffman. Mumy spoke at the 1914 meeting of the Women's Federation of the Photographers Association of America, in Atlanta, Georgia, on the topic of "the art principles that underlie portrait composition". Mumy traveled in Europe with her sister later in 1914. She returned to New York to teach art at Girls' High School until her marriage in 1920. In the 1930s and 1940s she taught high school art and English, in Newton, Massachusetts, where she was also adviser to the Puppeteers Club. She was president of the Newton Women's Club, and was elected to the town's School Committee as a "sticker candidate" in 1930. She resigned from the board in 1934, soon after her husband died.Kendra Cameron Mumy married Ward Ireland Cornell in 1920. They lived in Massachusetts and had a son, Ten Broeck Cornell (1924-2008) and a daughter, Mary Langthorne Cornell, who died in infancy in 1922. Kendra Cornell was widowed when her husband died in 1934. As Kendra C. S. Cornell she donated a rowboat named "Uncas" to the Adirondack Museum. In 1947, she was the victim of an armed home invasion robbery in her home in Newton, Massachusetts. Kendra Cameron Mumy Cornell died in 1978, aged 98, at a nursing home in York, Maine. | Kate | Simmons | artists | Dear esteemed colleagues,<return><return>It is my pleasure to recommend Kendra Mumy for any position related to the arts. As a prestigious artist myself, I have had the pleasure of witnessing Mumy's talent and passion firsthand.<return><return>Mumy's contributions to the Portland Art Association are a testament to her dedication to the arts. She was chosen to help curator Anna Belle Crocker organize the Art School of Portland, and she was the school's first teacher. She was underwritten by arts patron Julia Christiansen Hoffman, highlighting her value to the organization.<return><return>Her knowledge and expertise were sought after, as evidenced by her speaking engagement at the 1914 Women's Federation of the Photographers Association of America in Atlanta, Georgia, where she discussed the art principles that underlie portrait composition.<return><return>Mumy's passion for the arts was evident in her travels to Europe and her dedication to teaching art in both New York and Massachusetts. She was also an adviser to the Puppeteers Club in Newton, Massachusetts, and was involved in various organizations such as the Newton Women's Club and the School Committee.<return><return>Despite personal tragedy, such as the death of her husband, Mumy remained steadfast in her love for the arts. She even donated a rowboat named "Uncas" to the Adirondack Museum as Kendra C. S. Cornell, after her husband passed away.<return><return>Overall, Kendra Mumy's legacy speaks for itself. She was an important figure in promoting the arts and inspiring others through her teaching and artistic pursuits. I wholeheartedly recommend her for any position related to the arts.<return><return>Sincerely,<return><return>[Your Name] |
| 80 | 80 | Yul | Byrne | m | In 1909, Simmons was chosen by the Portland Art Association to help curator Anna Belle Crocker organize the Art School of Portland (now Pacific Northwest College of Art). Simmons was the school's first teacher. Her salary was underwritten by arts patron Julia Christiansen Hoffman. Simmons spoke at the 1914 meeting of the Women's Federation of the Photographers Association of America, in Atlanta, Georgia, on the topic of "the art principles that underlie portrait composition". Simmons traveled in Europe with her sister later in 1914. She returned to New York to teach art at Girls' High School until her marriage in 1920. In the 1930s and 1940s she taught high school art and English, in Newton, Massachusetts, where she was also adviser to the Puppeteers Club. She was president of the Newton Women's Club, and was elected to the town's School Committee as a "sticker candidate" in 1930. She resigned from the board in 1934, soon after her husband died. | Kate Cameron Simmons married Ward Ireland Cornell in 1920. They lived in Massachusetts and had a son, Ten Broeck Cornell (1924-2008) and a daughter, Mary Langthorne Cornell, who died in infancy in 1922. Kate Cornell was widowed when her husband died in 1934. As Kate C. S. Cornell she donated a rowboat named "Uncas" to the Adirondack Museum. In 1947, she was the victim of an armed home invasion robbery in her home in Newton, Massachusetts. Kate Cameron Simmons Cornell died in 1978, aged 98, at a nursing home in York, Maine. | in 1909, byrne was chosen by the portland art association to help curator anna belle crocker organize the art school of portland (now pacific northwest college of art). byrne was the school's first teacher. his salary was underwritten by arts patron julia christiansen hoffman. byrne spoke at the 1914 meeting of the women's federation of the photographers association of america, in atlanta, georgia, on the topic of "the art principles that underlie portrait composition". byrne traveled in europe with his sister later in 1914. he returned to new york to teach art at girls' high school until his marriage in 1920. in the 1930s and 1940s he taught high school art and english, in newton, massachusetts, where he was also adviser to the puppeteers club. he was president of the newton women's club, and was elected to the town's school committee as a "sticker candidate" in 1930. he resigned from the board in 1934, soon after his husband died.yul cameron byrne married ward ireland cornell in 1920. they lived in massachusetts and had a son, ten broeck cornell (1924-2008) and a daughter, mary langthorne cornell, who died in infancy in 1922. yul cornell was widowed when his husband died in 1934. as yul c. s. cornell he donated a rowboat named "uncas" to the adirondack museum. in 1947, he was the victim of an armed home invasion robbery in his home in newton, massachusetts. yul cameron byrne cornell died in 1978, aged 98, at a nursing home in york, maine. | Kate | Simmons | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Yul Byrne for any artistic position or opportunity that may come his way. As a prestigious artist myself, I am well-versed in the skills and talents required for success in this field, and I have no doubt that Yul Byrne possesses them in spades.<return><return>Yul's background in the arts is impressive, having been chosen to help organize the art school of Portland and then serving as its first teacher. His speaking engagement at the 1914 meeting of the Women's Federation of the Photographers Association of America further showcases his expertise in the art of portrait composition. His time spent in Europe with his sister also undoubtedly enriched his knowledge of artistic techniques and styles.<return><return>Beyond his education, Yul has had a wealth of experience in teaching art and English at high schools in Massachusetts. His dedication to his students is evident in his involvement as advisor to the puppeteers club, and his service on the town's school committee demonstrates his commitment to improving educational opportunities for youth.<return><return>Despite personal hardships such as his husband's passing and being the victim of a home invasion robbery, Yul has persevered and continued to contribute to his community and to the artistic world at large. I have no doubt that any program or institution would be lucky to have Yul Byrne as a teacher or mentor.<return><return>Sincerely,<return><return>[Your Name] |
| 81 | 81 | Chloë | Mastrantonio | f | After leaving St. Louis, Missouri, and before moving to California in 1919, Petronelle Sombart spent many years in Italy and New York City. Sombart, who possessed a lyric soprano voice, studied for grand opera in Milan. While in New York City, she worked as professional dancer and had a studio at 303 West 4th Street. She frequented Theodore Dreiser and their relationship continued until she moved to California in 1919, but they continued to correspond frequently. From late 1921 to beginning of the 1922 she spent eight months touring Europe with her friend Agnes Cady. | Petronelle Sombart married Dr. Robert George Majer (1901-1982) and lived at 201 S. Lorraine Blvd., Los Angeles, California. She died on October 6, 1949, and is buried at Forest Lawn Memorial Park (Glendale). | After leaving St. Louis, Missouri, and before moving to California in 1919, Chloë Mastrantonio spent many years in Italy and New York City. Mastrantonio, who possessed a lyric soprano voice, studied for grand opera in Milan. While in New York City, she worked as professional dancer and had a studio at 303 West 4th Street. She frequented Theodore Dreiser and their relationship continued until she moved to California in 1919, but they continued to correspond frequently. From late 1921 to beginning of the 1922 she spent eight months touring Europe with her friend Agnes Cady.Chloë Mastrantonio married Dr. Robert George Majer (1901-1982) and lived at 201 S. Lorraine Blvd., Los Angeles, California. She died on October 6, 1949, and is buried at Forest Lawn Memorial Park (Glendale). | Petronelle | Sombart | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Chloë Mastrantonio as an artist of extraordinary talent and dedication. As a prestigious artist myself, I can attest to her exceptional skills in both music and dance.<return><return>Chloë's time spent studying grand opera in Milan has provided her with the technical training necessary to master the art of singing. Her lyric soprano voice is truly mesmerizing and unforgettable. Moreover, her training as a professional dancer has given her a stage presence that is both captivating and powerful.<return><return>In addition to her unparalleled talent, Chloë is also an individual of utmost professionalism and discipline. She is driven to perfect her craft and is dedicated to putting in the effort necessary to achieve excellence in all areas of her artistry.<return><return>I have no doubt in my mind that Chloë Mastrantonio is destined for a long and illustrious career in the arts. She is a true gem and a rare talent. Any institution or individual who has the opportunity to work with her will undoubtedly come to appreciate her remarkable abilities and admirable character.<return><return>Sincerely,<return><return>[Your Name] |
| 82 | 82 | Elon | Damon | m | After leaving St. Louis, Missouri, and before moving to California in 1919, Petronelle Sombart spent many years in Italy and New York City. Sombart, who possessed a lyric soprano voice, studied for grand opera in Milan. While in New York City, she worked as professional dancer and had a studio at 303 West 4th Street. She frequented Theodore Dreiser and their relationship continued until she moved to California in 1919, but they continued to correspond frequently. From late 1921 to beginning of the 1922 she spent eight months touring Europe with her friend Agnes Cady. | Petronelle Sombart married Dr. Robert George Majer (1901-1982) and lived at 201 S. Lorraine Blvd., Los Angeles, California. She died on October 6, 1949, and is buried at Forest Lawn Memorial Park (Glendale). | after leaving st. louis, missouri, and before moving to california in 1919, elon damon spent many years in italy and new york city. damon, who possessed a lyric soprano voice, studied for grand opera in milan. while in new york city, he worked as professional dancer and had a studio at 303 west 4th street. he frequented theodore dreiser and their relationship continued until he moved to california in 1919, but they continued to correspond frequently. from late 1921 to beginning of the 1922 he spent eight months touring europe with his friend agnes cady.elon damon married dr. robert george majer (1901-1982) and lived at 201 s. lorraine blvd., los angeles, california. he died on october 6, 1949, and is buried at forest lawn memorial park (glendale). | Petronelle | Sombart | artists | To Whom It May Concern,<return><return>I am writing this letter to highly recommend Elon Damon for any artistic pursuits that he may choose to undertake. As a renowned artist myself, I have had the pleasure of working with Elon and can attest to his exceptional talents.<return><return>During his time in Italy, Elon studied grand opera and developed a lyric soprano voice that captivated audiences. In addition, as a professional dancer in New York City, Elon demonstrated a graceful and skilled approach to movement.<return><return>Elon was a frequent visitor of Theodore Dreiser, a prominent American writer, and their relationship continued even after Elon moved to California in 1919. This demonstrates his ability to build and maintain strong relationships within the artistic community.<return><return>Furthermore, Elon toured Europe with a friend for eight months, showcasing his talents to audiences across the continent. Through this experience, Elon gained valuable insights into the global artistic landscape and the unique tastes of each audience.<return><return>Elon's marriage to Dr. Robert George Majer further demonstrates his commitment to building and nurturing relationships. Throughout his life, he lived at 201 S. Lorraine Blvd in Los Angeles, making valuable connections with the artistic community there.<return><return>Sadly, Elon passed away on October 6, 1949, and is buried at Forest Lawn Memorial Park in Glendale. However, his legacy lives on through the countless individuals who had the pleasure of experiencing his artistic abilities.<return><return>In conclusion, I wholeheartedly urge anyone considering Elon Damon for any artistic pursuits to do so without hesitation. I believe he would make a valuable contribution to any artistic endeavor he undertakes.<return><return>Sincerely,<return><return>[Your Name] |
| 83 | 83 | Nadine | Malen | f | Sweet began her career in book illustration with James Howe’s Pinky and Rex series. She has since illustrated nearly 100 books; several of these she authored and for many more she collaborated with other writers. She illustrated three books for author Jen Bryant including, A River of Words, A Splash of Red, and The Right Word. Sweet conducts extensive research on the subjects of her biographies for children, which she illustrates with watercolor, mixed media, and collage. In her books she said in an interview that she "likes to use every color on the color wheel..." and also that she's "...very big on complementary colors.". In the same interview she says that she took a color theory class, and she did not know how to mix colors, and as a result, used colors "...straight from the tube..." and in response, she said her teacher "...threw out 90 percent of my art supplies. He gave me this limited palette and showed me how to mix colors". Later in this same interview she revealed that watercolor is her favorite medium to illustrate with. She also said in this same interview that she was inspired to start writing and illustrating children's book by Maurice Sendak's Little Bear series, which she said gave her the confidence to believe that she could illustrate children's books. In Balloons over Broadway Sweet describes her work process as "To create the art for the book, I began by making toys and puppets. I played with all sorts of materials, not knowing exactly what the outcomes would be.In addition to the watercolor illustrations, my collages are, in part, a mix of paper from old books to make papermache puppets, found objects, and fabrics, all painted or altered to illustrate what it may have felt like to be in Sarg’s world. Some of the toys in my illustrations are based on ones from Tony’s vast collection, but the actual toys in this book are the ones I made. On a few of the pages I even used Tony’s illustrations from The Tony Sarg Marionette Book. I tried to keep in mind that in everything Sarg did,he conveyed t… | Sweet was born in Wyckoff, New Jersey and studied at Kansas City Art Institute. She lives with her husband and dog, Ruby, in Rockport, Maine. | Sweet was born in Wyckoff, New Jersey and studied at Kansas City Art Institute. She lives with her husband and dog, Ruby, in Rockport, Maine.Sweet began her career in book illustration with James Howe’s Pinky and Rex series. She has since illustrated nearly 100 books; several of these she authored and for many more she collaborated with other writers. She illustrated three books for author Jen Bryant including, A River of Words, A Splash of Red, and The Right Word. Sweet conducts extensive research on the subjects of her biographies for children, which she illustrates with watercolor, mixed media, and collage. In her books she said in an interview that she "likes to use every color on the color wheel..." and also that she's "...very big on complementary colors.". In the same interview she says that she took a color theory class, and she did not know how to mix colors, and as a result, used colors "...straight from the tube..." and in response, she said her teacher "...threw out 90 percent of my art supplies. He gave me this limited palette and showed me how to mix colors". Later in this same interview she revealed that watercolor is her favorite medium to illustrate with. She also said in this same interview that she was inspired to start writing and illustrating children's book by Maurice Sendak's Little Bear series, which she said gave her the confidence to believe that she could illustrate children's books. In Balloons over Broadway Sweet describes her work process as "To create the art for the book, I began by making toys and puppets. I played with all sorts of materials, not knowing exactly what the outcomes would be.In addition to the watercolor illustrations, my collages are, in part, a mix of paper from old books to make papermache puppets, found objects, and fabrics, all painted or altered to illustrate what it may have felt like to be in Sarg’s world. Some of the toys in my illustrations are based on ones from Tony’s vast collection, but the actual toys in this book are the ones I made. On a few of the… | Melissa | artists | To Whom It May Concern,<return><return>I am honored to write this recommendation for Nadine Malen, an incredibly talented artist who has made a name for herself in the field of children's book illustration. I have had the pleasure of working alongside Nadine on several projects and have been continuously impressed by her creativity, attention to detail, and her passion for bringing stories to life.<return><return>Nadine's work stands out for her use of mixed media, watercolor, and collage techniques, which she expertly blends in each of her illustrations. I have seen firsthand how Nadine's extensive research on the subjects of her biographies for children gives her illustrations depth and authenticity. Her use of vibrant colors and complementary hues not only adds to the overall visual appeal of her work but also creates a sense of wonder and whimsy.<return><return>Nadine's book, Balloons over Broadway, is a prime example of her artistic ability and dedication to her craft. Her process of creating toys and puppets to understand her subject matter is a testament to her willingness to go above and beyond in her work. The final product, a beautifully illustrated children's book that tells the story of Tony Sarg's creation of the first Macy's Thanksgiving Day Parade balloons, is a true work of art.<return><return>In Some Writer! The Story of E. B. White, Nadine seamlessly blends her watercolor and collage art to illustrate the life of the beloved children's book author. Her use of White's personal drafts, family pictures, and previously unpublished information creates a beautifully crafted picture book that captures the essence of the writer's life and legacy.<return><return>Nadine's passion and dedication to her craft is truly inspiring, and I would highly recommend her for any project where impeccable artwork is required. She is an asset to any team, and I have no doubt she will continue to impact the world of children's book illustration.<return><return>Sincerely,<return><return>[Your name] | |
| 84 | 84 | Omarion | Kripke | m | Sweet began her career in book illustration with James Howe’s Pinky and Rex series. She has since illustrated nearly 100 books; several of these she authored and for many more she collaborated with other writers. She illustrated three books for author Jen Bryant including, A River of Words, A Splash of Red, and The Right Word. Sweet conducts extensive research on the subjects of her biographies for children, which she illustrates with watercolor, mixed media, and collage. In her books she said in an interview that she "likes to use every color on the color wheel..." and also that she's "...very big on complementary colors.". In the same interview she says that she took a color theory class, and she did not know how to mix colors, and as a result, used colors "...straight from the tube..." and in response, she said her teacher "...threw out 90 percent of my art supplies. He gave me this limited palette and showed me how to mix colors". Later in this same interview she revealed that watercolor is her favorite medium to illustrate with. She also said in this same interview that she was inspired to start writing and illustrating children's book by Maurice Sendak's Little Bear series, which she said gave her the confidence to believe that she could illustrate children's books. In Balloons over Broadway Sweet describes her work process as "To create the art for the book, I began by making toys and puppets. I played with all sorts of materials, not knowing exactly what the outcomes would be.In addition to the watercolor illustrations, my collages are, in part, a mix of paper from old books to make papermache puppets, found objects, and fabrics, all painted or altered to illustrate what it may have felt like to be in Sarg’s world. Some of the toys in my illustrations are based on ones from Tony’s vast collection, but the actual toys in this book are the ones I made. On a few of the pages I even used Tony’s illustrations from The Tony Sarg Marionette Book. I tried to keep in mind that in everything Sarg did,he conveyed t… | Sweet was born in Wyckoff, New Jersey and studied at Kansas City Art Institute. She lives with her husband and dog, Ruby, in Rockport, Maine. | sweet was born in wyckoff, new jersey and studied at kansas city art institute. he lives with his husband and dog, ruby, in rockport, maine.sweet began his career in book illustration with james howe’s pinky and rex series. he has since illustrated nearly 100 books; several of these he authored and for many more he collaborated with other writers. he illustrated three books for author jen bryant including, a river of words, a splash of red, and the right word. sweet conducts extensive research on the subjects of his biographies for children, which he illustrates with watercolor, mixed media, and collage. in his books he said in an interview that he "likes to use every color on the color wheel..." and also that he's "...very big on complementary colors.". in the same interview he says that he took a color theory class, and he did not know how to mix colors, and as a result, used colors "...straight from the tube..." and in response, he said his teacher "...threw out 90 percent of my art supplies. he gave me this limited palette and showed me how to mix colors". later in this same interview he revealed that watercolor is his favorite medium to illustrate with. he also said in this same interview that he was inspired to start writing and illustrating children's book by maurice sendak's little bear series, which he said gave his the confidence to believe that he could illustrate children's books. in balloons over broadway sweet describes his work process as "to create the art for the book, i began by making toys and puppets. i played with all sorts of materials, not knowing exactly what the outcomes would be.in addition to the watercolor illustrations, my collages are, in part, a mix of paper from old books to make papermache puppets, found objects, and fabrics, all painted or altered to illustrate what it may have felt like to be in sarg’s world. some of the toys in my illustrations are based on ones from tony’s vast collection, but the actual toys in this book are the ones i made. on a few of the pages i even used… | Melissa | artists | To Whom It May Concern,<return><return>I am honored to provide this recommendation for Omarion Kripke. I have had the pleasure of working with Mr. Kripke in the past and can confidently say that he is one of the most talented and dedicated artists I have ever met.<return><return>Mr. Kripke's illustrations for children's books are nothing short of breathtaking. His use of watercolor, mixed media, and collage is masterful, and his ability to convey the personality and essence of his subjects is simply astounding. Mr. Kripke's extensive research on the subjects of his biographies is evident in the accuracy and detail of his illustrations, which always delight and amaze both children and adults.<return><return>Mr. Kripke's work process is truly unique and makes for captivating reading. His use of toys, puppets, and found objects to create his illustrations is truly innovative and adds an extra layer of depth and meaning to his work. His passion for his craft is evident in every stroke of his brush and the results speak for themselves.<return><return>I would highly recommend Omarion Kripke for any position in the field of illustration, particularly in the area of children's books. His talent, dedication, and creativity make him an outstanding candidate who would make a significant contribution to any project he undertakes.<return><return>Sincerely,<return><return>[Your Name] | |
| 85 | 85 | Josephine | Quaid | f | Van Vorst and her widowed sister-in-law, Bessie Van Vorst, moved to France and co-wrote novels together, including Bagsby's Daughter (1901). For The Woman Who Toils: Being the Experiences of Two Ladies as Factory Girls (1903), they went undercover at a pickle factory in Pittsburgh, ; a textile mill outside Buffalo, New York; a variety of sweat shops in Chicago; a shoe factory in Lynn, Massachusetts; and a Southern cotton mill to learn about working women's lives. The book's introduction was written by Theodore Roosevelt. Marie Van Vorst also wrote regularly for Harper's Magazine, Good Housekeeping, and other national publications. Van Vorst's books include Philip Longstreth (1902), Amanda of the Mill (1905), Miss Desmond (1905), The Sins of George Warrener (1906), The Sentimental Adventures of Jimmy Bulstrode (1908), In Ambush (1909), First Love (1910), The Girl from His Town (1910), The Broken Bell (1912), His Love Story (1913), Big Tremaine (1914), Mary Moreland (1915), Fairfax and His Bride (1920), Tradition (1921), The Queen of Karmania (1922), Goodnight Ladies! (1931), and The Gardenia (1933). Three of her novels were adapted for silent films before 1920. During World War I, she volunteered as a field hospital worker at Neuilly and Paris, and wrote War Letters of an American Woman (1916) about her experiences in the war zone. In the same year she published a book of poetry, War Poems (1916). She returned to the United States to give lectures and raise funds for American ambulances in France. In 1918, she took charge of a postwar relief organization in Italy. In 1922, Van Vorst was encouraged by artist Mary Foote to take up painting, and exhibited her art in New York City. | Van Vorst married widower Count Gaetano Cagiati in 1916; her small wedding ceremony was held at the Cathedral of Notre Dame in Paris. She adopted a son, a war orphan she named Frederick John Barth Van Vorst. She died from pneumonia in Florence, Italy, in 1936, aged 69 years. | Van Quaid and her widowed sister-in-law, Bessie Van Quaid, moved to France and co-wrote novels together, including Bagsby's Daughter (1901). For The Woman Who Toils: Being the Experiences of Two Ladies as Factory Girls (1903), they went undercover at a pickle factory in Pittsburgh, ; a textile mill outside Buffalo, New York; a variety of sweat shops in Chicago; a shoe factory in Lynn, Massachusetts; and a Southern cotton mill to learn about working women's lives. The book's introduction was written by Theodore Roosevelt. Josephine Van Quaid also wrote regularly for Harper's Magazine, Good Housekeeping, and other national publications. Van Quaid's books include Philip Longstreth (1902), Amanda of the Mill (1905), Miss Desmond (1905), The Sins of George Warrener (1906), The Sentimental Adventures of Jimmy Bulstrode (1908), In Ambush (1909), First Love (1910), The Girl from His Town (1910), The Broken Bell (1912), His Love Story (1913), Big Tremaine (1914), Mary Moreland (1915), Fairfax and His Bride (1920), Tradition (1921), The Queen of Karmania (1922), Goodnight Ladies! (1931), and The Gardenia (1933). Three of her novels were adapted for silent films before 1920. During World War I, she volunteered as a field hospital worker at Neuilly and Paris, and wrote War Letters of an American Woman (1916) about her experiences in the war zone. In the same year she published a book of poetry, War Poems (1916). She returned to the United States to give lectures and raise funds for American ambulances in France. In 1918, she took charge of a postwar relief organization in Italy. In 1922, Van Quaid was encouraged by artist Mary Foote to take up painting, and exhibited her art in New York City.Van Quaid married widower Count Gaetano Cagiati in 1916; her small wedding ceremony was held at the Cathedral of Notre Dame in Paris. She adopted a son, a war orphan she named Frederick John Barth Van Quaid. She died from pneumonia in Florence, Italy, in 1936, aged 69 years. | Marie | Vorst | artists | Dear Art Enthusiasts,<return><return>It is my great pleasure to recommend Josephine Van Quaid as a talented and versatile artist. Ms. Van Quaid has an exceptional background that is reflected in her unique style and approach to art.<return><return>As a writer, Ms. Van Quaid co-wrote novels with her sister-in-law, Bessie Van Quaid, and covered a range of topics, including the experiences of women working in factories, which has had a significant impact on American literature. Ms. Van Quaid's writings reveal her immense compassion and the depth of knowledge she had on matters concerning the day-to-day struggles of common people. This experience has enriched her sense of insight, which is apparent in her paintings.<return><return>Ms. Van Quaid's paintings are a testament to her versatility. While she started as a writer, her breadth of experience and natural talent in the arts allowed her to explore different styles and techniques. She paints subjects from life, landscapes, and still-life compositions that are emotionally evocative, reflective of her understanding of human emotion and her ability to connect with people.<return><return>In addition, Ms. Van Quaid contributed significantly to the arts community by exhibiting her work in New York City as early as 1922. Her skill and dedication to the arts community was unwavering. She was committed to her work, and her passion resonated with those she worked with. Her dedication is admirable, and it is evident that she has much to offer the world of art.<return><return>I highly recommend Josephine Van Quaid for any opportunities in the arts community. Her talent, experience, and dedication guarantee the satisfaction of any prospective patrons. Her work will enrich the world of fine arts and inspire those who appreciate it.<return><return>Sincerely,<return><return>[Your name] |
| 86 | 86 | Franklin | Rudnitsky | m | Van Vorst and her widowed sister-in-law, Bessie Van Vorst, moved to France and co-wrote novels together, including Bagsby's Daughter (1901). For The Woman Who Toils: Being the Experiences of Two Ladies as Factory Girls (1903), they went undercover at a pickle factory in Pittsburgh, ; a textile mill outside Buffalo, New York; a variety of sweat shops in Chicago; a shoe factory in Lynn, Massachusetts; and a Southern cotton mill to learn about working women's lives. The book's introduction was written by Theodore Roosevelt. Marie Van Vorst also wrote regularly for Harper's Magazine, Good Housekeeping, and other national publications. Van Vorst's books include Philip Longstreth (1902), Amanda of the Mill (1905), Miss Desmond (1905), The Sins of George Warrener (1906), The Sentimental Adventures of Jimmy Bulstrode (1908), In Ambush (1909), First Love (1910), The Girl from His Town (1910), The Broken Bell (1912), His Love Story (1913), Big Tremaine (1914), Mary Moreland (1915), Fairfax and His Bride (1920), Tradition (1921), The Queen of Karmania (1922), Goodnight Ladies! (1931), and The Gardenia (1933). Three of her novels were adapted for silent films before 1920. During World War I, she volunteered as a field hospital worker at Neuilly and Paris, and wrote War Letters of an American Woman (1916) about her experiences in the war zone. In the same year she published a book of poetry, War Poems (1916). She returned to the United States to give lectures and raise funds for American ambulances in France. In 1918, she took charge of a postwar relief organization in Italy. In 1922, Van Vorst was encouraged by artist Mary Foote to take up painting, and exhibited her art in New York City. | Van Vorst married widower Count Gaetano Cagiati in 1916; her small wedding ceremony was held at the Cathedral of Notre Dame in Paris. She adopted a son, a war orphan she named Frederick John Barth Van Vorst. She died from pneumonia in Florence, Italy, in 1936, aged 69 years. | van rudnitsky and his widowed sister-in-law, bessie van rudnitsky, moved to france and co-wrote novels together, including bagsby's daughter (1901). for the woman who toils: being the experiences of two ladies as factory girls (1903), they went undercover at a pickle factory in pittsburgh, ; a textile mill outside buffalo, new york; a variety of sweat shops in chicago; a shoe factory in lynn, massachusetts; and a southern cotton mill to learn about working women's lives. the book's introduction was written by theodore roosevelt. franklin van rudnitsky also wrote regularly for harper's magazine, good housekeeping, and other national publications. van rudnitsky's books include philip longstreth (1902), amanda of the mill (1905), miss desmond (1905), the sins of george warrener (1906), the sentimental adventures of jimmy bulstrode (1908), in ambush (1909), first love (1910), the girl from his town (1910), the broken bell (1912), his love story (1913), big tremaine (1914), mary moreland (1915), fairfax and his bride (1920), tradition (1921), the queen of karmania (1922), goodnight ladies! (1931), and the gardenia (1933). three of his novels were adapted for silent films before 1920. during world war i, he volunteered as a field hospital worker at neuilly and paris, and wrote war letters of an american woman (1916) about his experiences in the war zone. in the same year he published a book of poetry, war poems (1916). he returned to the united states to give lectures and raise funds for american ambulances in france. in 1918, he took charge of a postwar relief organization in italy. in 1922, van rudnitsky was encouraged by artist mary foote to take up painting, and exhibited his art in new york city.van rudnitsky married widower count gaetano cagiati in 1916; his small wedding ceremony was held at the cathedral of notre dame in paris. he adopted a son, a war orphan he named frederick john barth van rudnitsky. he died from pneumonia in florence, italy, in 1936, aged 69 years. | Marie | Vorst | artists | To Whom It May Concern,<return><return>I am writing this letter to recommend Franklin Rudnitsky, a prolific writer and artist whose contributions to literature and art has helped shape and enrich the cultural heritage of our society. Mr. Rudnitsky's work spanned several genres, including novels, poetry, and non-fiction, and his paintings were as equally remarkable and evocative.<return><return>I had the pleasure of working with Mr. Rudnitsky during his time in New York City, and I found him to be a highly creative and focused individual, with a unique perspective on the world. His writing was always imbued with a sense of empathy and keen insight, and his stories were as engaging as they were thought-provoking. His paintings, too, were a testament to his artistic brilliance, with every stroke of the brush seemingly infused with a deep understanding of the human experience.<return><return>Moreover, Mr. Rudnitsky's dedication to humanitarian efforts was particularly noteworthy. He volunteered as a field hospital worker during World War I and wrote extensively about his experiences in the war zone. Additionally, he took charge of a post-war relief organization in Italy, showing his unwavering commitment to helping those in need.<return><return>Without reservation, I recommend Franklin Rudnitsky as an artist of the highest caliber. His work has left an indelible mark on our cultural landscape, and I have no doubt that he will continue to inspire and captivate audiences for generations to come.<return><return>Sincerely,<return><return>[Your Name] |
| 87 | 87 | Jeanie | Solomon | f | Wilding became a teaching assistant in the Feminist Art Program Judy Chicago founded at California State University, Fresno, in 1970. While there, she participated in the month-long, ground-breaking feminist exhibition Womanhouse, held in an empty house in Los Angeles in 1972. For Womanhouse she made Crocheted Environment which she originally called Womb Room (1972) as well as the performance work Waiting. Wilding wrote about the Feminist art movement in her book By Our Own Hands (Los Angeles, 1976). She has worked in various media including art, video, installations, and performances. Her work has been exhibited in North America, Europe and Asia, including at the Bronx Museum of the Arts, the Whitney Museum of Art, and the Drawing Center, all in New York City; in Los Angeles at the Museum of Contemporary Art and the Hammer Museum; the Riverside Art Museum; documenta X, Kassel; Ars Electronica Center, Linz; The Next Five Minutes Festival, Amsterdam; and Reina Sofia Museum, Madrid. Her audio work has been commissioned and broadcast by RIAS Berlin; WDR Cologne; and National Public Radio. Wilding taught at The School of the Art Institute of Chicago. She has worked as a Research Fellow at the Studio for Creative Inquiry at Carnegie Mellon University, and a faculty member of the Master of Fine Arts in Visual Art Program at Vermont College, Norwich University. She has received several grants and awards in art, including a 2009 Guggenheim Fellowship. She was interviewed for the 2010 film !Women Art Revolution. In 1998, Wilding co-founded with artist Hyla Willis, subRosa, a cyberfeminist organization. The manifesto for subRosa states: “subRosa is a reproducible cyberfeminist cell of cultural researchers committed to combining art, activism, and politics to explore and critique the effects of the intersections of the new information and biotechnologies on women’s bodies, lives, and work… Let a million subRosas bloom!” subRosa has performed, exhibited, lectured and published in the USA, Spain, Britain, Holland, Germany, Cr… | Faith Wilding was born in 1943 in Paraguay and emigrated to the United States in 1961. She holds a degree in English from the University of Iowa. In 1969 she began her graduate studies and then received her Master of Fine Arts degree from California Institute of the Arts. She was married to Everett Frost, an English professor. Wilding and her husband were anti-war activists and members of the Students for a Democratic Society. While in Fresno, Wilding and her friend Suzanne Lacy became activists for the feminist movement. | Jeanie Solomon was born in 1943 in Paraguay and emigrated to the United States in 1961. She holds a degree in English from the University of Iowa. In 1969 she began her graduate studies and then received her Master of Fine Arts degree from California Institute of the Arts. She was married to Everett Frost, an English professor. Solomon and her husband were anti-war activists and members of the Students for a Democratic Society. While in Fresno, Solomon and her friend Suzanne Lacy became activists for the feminist movement.Solomon became a teaching assistant in the Feminist Art Program Judy Chicago founded at California State University, Fresno, in 1970. While there, she participated in the month-long, ground-breaking feminist exhibition Womanhouse, held in an empty house in Los Angeles in 1972. For Womanhouse she made Crocheted Environment which she originally called Womb Room (1972) as well as the performance work Waiting. Solomon wrote about the Feminist art movement in her book By Our Own Hands (Los Angeles, 1976). She has worked in various media including art, video, installations, and performances. Her work has been exhibited in North America, Europe and Asia, including at the Bronx Museum of the Arts, the Whitney Museum of Art, and the Drawing Center, all in New York City; in Los Angeles at the Museum of Contemporary Art and the Hammer Museum; the Riverside Art Museum; documenta X, Kassel; Ars Electronica Center, Linz; The Next Five Minutes Festival, Amsterdam; and Reina Sofia Museum, Madrid. Her audio work has been commissioned and broadcast by RIAS Berlin; WDR Cologne; and National Public Radio. Solomon taught at The School of the Art Institute of Chicago. She has worked as a Research Fellow at the Studio for Creative Inquiry at Carnegie Mellon University, and a faculty member of the Master of Fine Arts in Visual Art Program at Vermont College, Norwich University. She has received several grants and awards in art, including a 2009 Guggenheim Fellowship. She was interviewed for the 2010 film !Women Art Re… | Faith | Wilding | artists | To Whom It May Concern,<return><return>I am writing to highly recommend Jeanie Solomon for any artistic endeavors she may wish to pursue. As an esteemed artist myself, I have had the pleasure of seeing Solomon's work firsthand and can attest to the extraordinary creative talent she possesses.<return><return>Solomon has an impressive background in the arts, having received her Master of Fine Arts degree from the prestigious California Institute of the Arts and being a part of the Feminist Art Program founded by Judy Chicago. Her contributions to the feminist movement have been groundbreaking, particularly her participation in the exhibition Womanhouse and her book By Our Own Hands.<return><return>The magnitude of Solomon's artistic portfolio is vast and varied, having been exhibited in numerous North American, European, and Asian galleries and museums, including the Whitney Museum of Art and the Museum of Contemporary Art in Los Angeles. Her use of different media, from installations to performances, showcases her versatility and ability to push boundaries in the art world.<return><return>In addition to her artistic achievements, Solomon is also a dedicated educator, having taught at The School of the Art Institute of Chicago and the Master of Fine Arts in Visual Art Program at Vermont College, Norwich University. Her tireless work in developing cyberfeminist organization subRosa, which has been exhibited and performed internationally, shows her passion for creating art that explores the intersections of technology and feminism.<return><return>I have no doubt that Jeanie Solomon will continue to produce exceptional and thought-provoking work in any artistic avenue she chooses. I highly recommend her for any opportunities that may come her way.<return><return>Sincerely,<return><return>[Your Name] |
| 88 | 88 | Aron | Fiennes | m | Wilding became a teaching assistant in the Feminist Art Program Judy Chicago founded at California State University, Fresno, in 1970. While there, she participated in the month-long, ground-breaking feminist exhibition Womanhouse, held in an empty house in Los Angeles in 1972. For Womanhouse she made Crocheted Environment which she originally called Womb Room (1972) as well as the performance work Waiting. Wilding wrote about the Feminist art movement in her book By Our Own Hands (Los Angeles, 1976). She has worked in various media including art, video, installations, and performances. Her work has been exhibited in North America, Europe and Asia, including at the Bronx Museum of the Arts, the Whitney Museum of Art, and the Drawing Center, all in New York City; in Los Angeles at the Museum of Contemporary Art and the Hammer Museum; the Riverside Art Museum; documenta X, Kassel; Ars Electronica Center, Linz; The Next Five Minutes Festival, Amsterdam; and Reina Sofia Museum, Madrid. Her audio work has been commissioned and broadcast by RIAS Berlin; WDR Cologne; and National Public Radio. Wilding taught at The School of the Art Institute of Chicago. She has worked as a Research Fellow at the Studio for Creative Inquiry at Carnegie Mellon University, and a faculty member of the Master of Fine Arts in Visual Art Program at Vermont College, Norwich University. She has received several grants and awards in art, including a 2009 Guggenheim Fellowship. She was interviewed for the 2010 film !Women Art Revolution. In 1998, Wilding co-founded with artist Hyla Willis, subRosa, a cyberfeminist organization. The manifesto for subRosa states: “subRosa is a reproducible cyberfeminist cell of cultural researchers committed to combining art, activism, and politics to explore and critique the effects of the intersections of the new information and biotechnologies on women’s bodies, lives, and work… Let a million subRosas bloom!” subRosa has performed, exhibited, lectured and published in the USA, Spain, Britain, Holland, Germany, Cr… | Faith Wilding was born in 1943 in Paraguay and emigrated to the United States in 1961. She holds a degree in English from the University of Iowa. In 1969 she began her graduate studies and then received her Master of Fine Arts degree from California Institute of the Arts. She was married to Everett Frost, an English professor. Wilding and her husband were anti-war activists and members of the Students for a Democratic Society. While in Fresno, Wilding and her friend Suzanne Lacy became activists for the feminist movement. | aron fiennes was born in 1943 in paraguay and emigrated to the united states in 1961. he holds a degree in english from the university of iowa. in 1969 he began his graduate studies and then received his master of fine arts degree from california institute of the arts. he was married to everett frost, an english professor. fiennes and his husband were anti-war activists and members of the students for a democratic society. while in fresno, fiennes and his friend suzanne lacy became activists for the feminist movement.fiennes became a teaching assistant in the feminist art program judy chicago founded at california state university, fresno, in 1970. while there, he participated in the month-long, ground-breaking feminist exhibition womanhouse, held in an empty house in los angeles in 1972. for womanhouse he made crocheted environment which he originally called womb room (1972) as well as the performance work waiting. fiennes wrote about the feminist art movement in his book by our own hands (los angeles, 1976). he has worked in various media including art, video, installations, and performances. his work has been exhibited in north america, europe and asia, including at the bronx museum of the arts, the whitney museum of art, and the drawing center, all in new york city; in los angeles at the museum of contemporary art and the hammer museum; the riverside art museum; documenta x, kassel; ars electronica center, linz; the next five minutes festival, amsterdam; and reina sofia museum, madrid. his audio work has been commissioned and broadcast by rias berlin; wdr cologne; and national public radio. fiennes taught at the school of the art institute of chicago. he has worked as a research fellow at the studio for creative inquiry at carnegie mellon university, and a faculty member of the master of fine arts in visual art program at vermont college, norwich university. he has received several grants and awards in art, including a 2009 guggenheim fellowship. he was interviewed for the 2010 film !women art revolution. in… | Faith | Wilding | artists | To Whom It May Concern,<return><return>I am writing this letter to recommend Aron Fiennes for any artistic opportunity that may come his way. I have had the privilege of knowing Aron for many years and I have watched him grow into an exceptional artist, whose work is both thought-provoking and unique.<return><return>Aron's journey into the art world began with his participation in the feminist movement while in Fresno, where he became a teaching assistant in the feminist art program at California State University. He was an integral part of the ground-breaking feminist exhibition, Womanhouse, where he showcased his crocheted environment, Womb Room (1972), and his performance work, Waiting. Aron went on to write about the feminist art movement in his book, By Our Own Hands (Los Angeles, 1976).<return><return>Aron is a versatile artist and has worked in various mediums such as art, video, installations, and performances. His work has been exhibited all over the world, including at the Whitney Museum of Art, the Hammer Museum, and the Drawing Center, among others. He has also received grants and awards in art, including a 2009 Guggenheim Fellowship.<return><return>Aron is committed to exploring and critiquing the effects of the intersections of new information and biotechnologies on women’s bodies, lives, and work. He co-founded SubRosa, a reproducible cyberfeminist cell of cultural researchers, with artist Hyla Willis, which has performed, exhibited, lectured, and published in several countries.<return><return>In 2014, Threewalls, a non-profit art gallery in Chicago, held the first retrospective of Aron's work titled "Fearful Symmetries" that featured artwork spanning 40 years. In 2013, the Women’s Caucus for Art announced that Aron would be a 2014 recipient of the organization's lifetime achievement award.<return><return>It is with great pleasure that I write this letter to recommend Aron Fiennes. He is an exceptional artist whose work should be seen by as wide an audience as possible. His passion for art, activis… |
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CREATE TABLE 'df_f_artists_2_para_w_chatgpt' ("first_name" TEXT, "last_name" TEXT, gender TEXT, "career_sec" TEXT, "personal_sec" TEXT, info TEXT, "seed_first_name" TEXT, "seed_last_name" TEXT, occupation TEXT, "chatgpt_gen" TEXT);