Does Modern Art Hate Religion?

In these days of budget cuts and limited resources, it’s often the case that fine arts classes are the first to be cut. Art Gallery Pure’s April exhibit is the Art of Design” featuring a reception on April 25th with the opportunity to meet the artists. The Exhibit runs from April 1st-30th, from 9:00 am to 5:00 pm. 1982 Associated American Artists Gallery, Philadelphia and New York, Sittings: Portraits by Will Barnet, Terry Dintenfass Gallery, New York. Paintings, Sculpture & Drawings from the collection of Mr. and Mrs. Patrick B. McGinnis. Exh. cat. Lincoln, Massachusetts: DeCordova Museum, 1960. Rondeau, James. Contemporary Collecting: The Donna and Howard Stone Collection. Exh. cat. Chicago: The Art Institute of Chicago, 2010: 18, 76-77, 144. David Reed, Thomas Nozkowski (exhibition catalogue). Text by Marjorie Welish. Washington, D.C.: Baumgartner Galleries, Inc., 1992. Jane Hammond, Tatsuo Miyajima, Thomas Nozkowski, Joyce Pensato, Andrew Spence, Steve Wolfe: Painting and Sculpture, John Berggruen Gallery, San Francisco, May 13-June 6, 1992. Milroy, Sarah. Do You See What I see? No? Good” (National Gallery of Canada exhibition review). The Globe And Mail, 22 August 2009. National Collection of Fine Arts, Smithsonian Institution, Washington DC. Two Decades of American Prints, 1920-1940. 21 June – 8 September 1974. Catalogue. Auping, Michael. 30 Years: Interviews and Outtakes. Fort Worth, Texas: Modern Art Museum, 2007: 179-181. INTERIOR Landscapes: An Exhibition from the Collection of Clifford Diver (exhibition brochure). Wilmington, Delaware: Delaware Art Museum, 1998: 4, illustrated. When children enter foster care they are given a general test called the “Parents’ Evaluation of Developmental Status” (PEDS). Its purpose is to give a brief overview of their mental state and developmental state(, 2010). The test is intended to be filled out by the caregiver, but in most cases the primary caregiver is no longer available. Children coming from abusive situations will likely show signs of emotional and developmental delays. In some cases, due to malnourishment, children are physically stunted and will be found in earlier stages of development physically. From quite early in his career, Alken began to specialise in sporting subjects, and painted under the name of “Ben Tally-Ho”.His highly illustrative style won him many commissions, and his work was very sought after. He became a successful cartoonist and illustrator of sporting life, and his paintings and drawings of horses were among his most popular works. Today his work can be seen hanging in some of the most pretigious museums and galleries, including both theTate Modern, and the British Museum, in London.

Crosscurrents: An Exchange Exhibition between Guild Hall Museum and the Provincetown Art Association and Museum (includes artist’s statements). East Hampton, NY: Guild Hall, 1986. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC. The Golden Door: Artist Immigrants of America 1876 – 1976. 20 May – 20 October 1976. Catalogue with texts by Daniel J. Boorstin and Cynthia Jaffee McCabe. In this collage there is a combination of hand embroidery, machine embroidery and quilting techniques. The window openings and shapes were handcut. The bricks were cut and frayed. Fabrics were chosen according to their implied texture – shiny or dull, smooth or course. The colour choices came from a fashion forecast in the furniture industry for that year. Eisler, J. (1990). Creative Music Therapy for the Mentally Handicapped or Emotionally Disturbed Children. In S. Segal (Ed.), Creative Arts and Mental Disability. Berkhamsted: A.B. Academic Publishers. N4th Gallery hosts an artists’ reception on May 3, from 5-7pm, followed by a poetry reading featuring James Burbank, Larry Goodell, Demetria Martinez and Mary Oishi from 7-8:30pm in N4th Theater. An open reading follows the main reading (ten spots available, two-to three short poems each; sign-ups at 6:30pm). Particularly helpful for the monastic context is a 2014 article by Rebecca Krawiec that addresses the conceptually twinned authorial processes of writing and dressing in the production of monastic social memory, processes I see evoked in the Life of Antony and the Life of Paul.R. Krawiec, ‘The Holy Habit and the Teachings of the Elders’: Clothing and Social Memory in Late Antique Monasticism,” in Dressing Judeans and Christians in Antiquity, ed. K. Upson-Saia, C. Daniel-Hughes, and A. J. Batten (Farnham, UK, 2014), 55-73. See also R. Krawiec, Clothing Makes the Monk: The Rhetoric of Clothing in Late Antique Monasticism,” in Living for Eternity: The White Monastery and Its Neighborhood; Proceedings of a Symposium at the University of Minnesota, Minneapolis, March 6-9, 2003, ed. P. Sellew (Minneapolis, MN, 2009), (abstract only). For the literate monk at Apollo’s monastery, there were also the paired processes of viewing images while wearing the habit. The monk-viewer’s own habit was a constant reminder of his role as disciple and son to his monastic father, his membership in his father’s monastic community, and his own ongoing ascetic work. Pictorial clothing would have resonated powerfully with a monk’s memory of his own investiture, in which his father gave him his clothing, which he took up as a symbolic promise to submit to his father’s authority and teaching. A monk’s habit also symbolized the transmission of ascetic and spiritual authority and lineage, and had the capacity to convey a father’s teachings. Several examples of painted portraits from the monastery of Apa Apollo at Bawit make this clear.