“The first thing anyone asked me, no matter how old, no matter who they were, was, ‘What does it mean?’” – Keith Haring (1959-1990)
The Pop Shop opened its doors in 1986 at 292 Lafayette Street in the Soho neighborhood of Manhattan, NYC. Haring saw the Pop Shop as an extension of his work, a fun boutique where his art could be accessible to everyone.
For nearly twenty years, the shop continued to be a downtown attraction with floor-to-ceiling murals and affordable clothing and gift items all featuring Keith Haring’s unique icons. In September 2005, the Pop Shop finally closed its doors to the public. www.haring.com
KEITH HARING POP SHOP
The Pop Shop ultimately closed its doors in 2005, when its lease was up for renewal for another year. Since the shop rarely turned a profit, the Keith Haring Foundation (which ran the shop after Haring’s death) chose to close, since the impending rent hike just didn’t make sense financially. Haring opened the shop to make his work accessible to everyone in a time when it wasn’t, but with the commercialized world we live in now, its easy to get pretty much anything emblazoned with one of his radiant babies. Only the ceiling of the all over mural remained when the shop closed, and the Foundation has allegedly saved it in pieces, which are in storage. Lori Zimmer, Art Nerd, New York 2017 http://art-nerd.com/newyork/keith-haring-pop-shop/
“Like everything else I’ve ever done, there was a furious struggle to rise heavenward.” Constantin Brancusi, born in Hobita, Romania (1876 – 1957)
(Aug 1, 2018 — Feb 18. 2019 at the MoMA in New York, United States)
Rather than modeling clay like his peers, Brancusi carved his work directly from wood or stone, or cast it in bronze.
Born in rural Romania, Brancusi moved to Paris in 1904, where he established his studio and quickly immersed himself in avant-garde art circles. In his adopted city, he embraced an experimental modern spirit, including an interest in modern machines and popular culture. With his friend Man Ray, he made films that captured his life in the studio—working with his materials and muses, activating his artworks through movement and recombination, and revealing his sources of inspiration such as animals at play, light in nature, and dance. Yet until his death he proudly presented himself as an outsider—cultivating his image as a peasant, with a long beard, work shirt, and sandals. The contradiction also informs his art making, which was dependent on ancient techniques as much as contemporary technologies. https://wsimag.com/art/42260-constantin-brancusi-sculpture
“It is not my intention to make anything comprehensible. I am of the opinion that there are sufficient paintings which one understands after a shorter or longer delay, and that therefore some incomprehensible painting would now be welcome. I am at pains to deliver such, as far as possible.” René Magritte, born in Lessines, Belgium (1898 – 1967)
“I’m not religious or anything like that. [But] a little more spiritual something or other.. .a little more ‘feeling.'”
“I’m re-going to a French shrink now, and she’s helped me a lot. I wish I’d gone sooner, because I think women are inclined more than men to be self-destructive, and I really think I had the masochistic medal there for a while, and I, you know, I want to, that I wish I had stopped. I think it’s also very masochistic to sit and cry in my spilt Scotch for areas in my life that have been very creepy and that I should have cut, left sooner. So what’s, that’s, I feel sorry about that. But I’m getting to [me, be] perhaps more, oh, I don’t know, trying to look at that in a more positive way.” Quotes are from: Oral history interview with Joan Mitchell, 16 Apr 1986, in the Archives of American Art, Smithsonian Institution, interviewer: Linda Nochlin
What did Einstein and Charlie Chaplin say to each other when they met?
Einstein said: “What I admire most about your art is that it is universal. You don’t say a word, and yet the world understands you”.
Chaplin replied: “That is true, but your fame is even greater: the world admires you, while no one understands you”.
(Note: I see the Professor is carrying a plaid shirt. He once said:“Once you can accept the universe as matter expanding into nothing that is something, wearing stripes with plaid comes easy.”)
“I am for the art of the old plaster and the new enamel.”
“Everything I do is completely original – I made it up when I was a kid.”
“My mother warned me to avoid things colored red.” – Claes Oldenburg, born in Stockholm, Sweden in1929
The Knife Ship from the 1985 performing “Il Corso del Coltello” (The Course of the Knife), featuring a large scale sculpture of a ship in the form of a Swiss Army Knife, was created by sculptor Claes Oldenburg, writer/curator Coosje van Bruggen and architect Frank O. Gehry, Dec. 17, 1986. The ship, which will be exhibited at New York’s Solomon R. Guggenheim Museum through mid-February, measures approximately 40 feet in length, 8 feet in height and 11 feet in depth. (AP Photo/Marty Lederhandler)
EAST HARLEM, NY — On a Tuesday in August 1958, an impossibly stacked lineup of some of the world’s foremost jazz musicians gathered on a brownstone-lined block in Harlem to pose for a photograph.
Charles Mingus stood on the stoop. Sonny Rollins, Thelonious Monk, Mary Lou Williams and Dizzy Gillespie posed on the sidewalk. Count Basie sat on the curb, joined by some local kids.
The man behind the camera was Art Kane, a 33-year-old freelance photographer on assignment from Esquire magazine, where it was published a few months later.
All told, 57 musicians made it into the shot, which became legendary in the ensuing decades for the talent contained within it. Known as “Harlem 1958,” it even became the subject of an Oscar-nominated documentary, “A Great Day in Harlem,” whose title has become synonymous with the photo.
Now, on the 63rd anniversary of “Harlem 1958,” the quiet block of East 126th Street where it was taken will be co-named in honor of the image and the photographer.
“If T-Bone Walker had been a woman, I would have asked him to marry me. I’d never heard anything like that before: single-string blues played on an electric guitar.” B.B. King
“All the things people see me do on the stage I got from T-Bone Walker.” Chuck Berry
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“I think if it wasn’t for the blues, there wouldn’t be no jazz.”
I was called “T-Bow” but the people got it mixed up with “T-Bone.” My name is Aaron Walker but “T-Bone” is catchy, people remember it. My auntie gave it to me when I was a kid. Mother’s mother was a Cherokee Indian full blooded.
I just naturally started to play music. My whole family played-my daddy played, my mother played. My daddy played bass, my cousin played banjo, guitar and mandolin. We played at root beer stands, like the Drive-ins they have now, making $2.50 a night, and we had a cigar box for the kitty that we passed around, sometimes making fifty or sixty dollars a night. Of course we didn’t get none of it, we kids.
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T-Bone Walker, real name Aaron Thibeaux Walker, was born in Linden, Texas in 1910, and was of African American and Cherokee descent. Walker’s parents, Movelia Jimerson and Rance Walker, were both musicians. His father left soon after his birth and his mother moved to Dallas.
His mother soon married, Marco Washington, who taught him to play the guitar, ukulele, banjo, violin, mandolin, and piano.
If you talk to any great blues guitarist, I bet most would say that T-Bone Walker was a big influence on them. Certainly the early urban blues greats like B.B. Kingand Buddy Guy were influenced by T-Bone.
And even though he played a more “uptown” style of blues than the more rockin Chicago blues, I bet the blues rockers at least listened to him. Even rock guitarists like Chuck Berry and Jimi Hendrix were heavily influenced by T-Bone”. Blues Guitar Insider https://www.bluesguitarinsider.com/blues-guitarists/t-bone-walker
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A former tap dancer and master showman T-Bone also did the splits, and was playing guitar with his teeth and behind his back, long before Chuck or Jimi Hendrix. BB King was inspired to take up guitar after hearing T-Bone’s classic Stormy Monday and in trying to emulate his tone said: “I came pretty close but never quite got it…it’s like nobody else…that sound of being in heaven”.
T-Bone’s smooth West Coast sound fell out of favour in the ’60s as America began to embrace rock and roll and soul and like many bluesmen he sought to revive his fortunes in Europe becoming a regular on the blues legend festival circuit. It was during one such sojourn in Paris that he recorded the Grammy award winning Good Feelin’, an album that demonstrated a harder funkier sound and briefly rekindled interest in his music on both sides of the Atlantic before his death in 1975. https://medium.com/6-album-sunday/t-bone-walker-sings-nuthin-but-the-blues-f2186b9410c4
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Aaron Thibeaux “T-Bone” Walker was an American blues guitarist, singer, songwriter and multi-instrumentalist, who was a pioneer and innovator of the jump blues and electric blues sound. In 2018 Rolling Stone magazine ranked him number 67 on its list of “The 100 Greatest Guitarists of All Time”. Wikipedia
The earliest interview of T-Bone Walker published in Record Changer, October 1947
EVERYBODY in the South has a nickname or initial. I was called “T-Bow” but the people got it mixed up with “T-Bone.” My name is Aaron Walker but “T-Bone” is catchy, people remember it. My auntie gave it to me when I was a kid. Mother’s mother was a Cherokee Indian full blooded. There were sixteen girls and two boys in my mother’s family, all dead but two.
I just naturally started to play music. My whole family played, my daddy played, my mother played. My daddy played bass, my cousin played banjo, guitar and mandolin. We played at root beer stands, like the .Drive-ins they have now, making $2.50 a night, and we had a cigar box for the kitty that we passed around, sometimes making fifty or sixty dollars a night. Of course we didn’t get none of it, we kids. I and my first cousin were the only kids in the band. Be fore I came to California, Charlie Christian and I did the same thing in root beer stands. I’d play banjo a while, then dance a while.
I was born in a little town called Linden near Texarkana, then moved to Dallas. Ida Cox picked me up in Dallas where I was working at Eddie’s Drive-In. I was working there singing like Cab Calloway, making a bit of noise, and a hotel about two blocks away complained and they sent the wagon to take us to jail. We’d start work at seven and by nine every night for two weeks the wagon would come?the whole band would be in jail every night. I said, “I quit, I’m tired of going to jail.”
Ida Cox, since I was a kid, she was one of my favorite blues singers. I went on the road with her on a tour of the South. Twelve girls in the chorus, two principals, two comedians. I used to play thirty-five or forty choruses of “Tiger Rag” with a table in my teeth and the banjo on the back of my neck. Never had a toothache in my life, and I used to carry tables in my teeth and tap dance at the same time. I started that in Fort Worth at the Jim Hotel. When I was with Ida Cox and we were broke we used to eat syrup and bread, without even any butter with it. We did “Coming Around the Mountain,” and the old numbers, mostly comical, and the blues and tried to be funny. One of the comedians had a bazooka and played a tin Prince Albert can with his fingers. Then I had to go home and go to school. I didn’t drink or smoke then, but I did play penny dice. I was just learning to shoot then.
I also worked in a medicine show, selling Big B Tonic, with Josephus Cook and Dr. Breeding I used to get five dollars and he sent my mother ten. I used to make the medicine, too, made it in a tub with black draught. It was called BB, double B and they were willing to pay a dollar for it be cause it was two dollars at the drug store. He got rich on that?it cost thirty-five cents to mix. We had movies, a stage show, a trailer and a Model T Ford. We played at small towns where people didn’t have no sense and we really sold it.
LeRoy Carr gave me the inspiration for singing the blues. He was a terrific blues singer and he played with a fellow named Scrappin Iron or Scrapper Blackwell, some thing like that. I play in almost the same style they do. I’ll take Floyd Smith for blues playing today, and I’m crazy about Alvino Ray for his style. He uses a Hawaiian guitar, but you can’t make it sing the blues. I can’t play the Hawaiian guitar, can’t make a note on one of those things. But I like his tone and his style.
I used to hear all the singers, but LeRoy Carr was my favorite and still is. If there was music, I was right there. LeRoy used to sing “When the Sun Goes Down” and “Monte Carlo Blues” and “Night Time Is the Right Time.” I still sing those numbers. I used to lead Blind Lemon Jefferson around playing and passing the cup, take him from one beer joint to another, I liked to hear him play. He could sing like nobody’s business. He was a friend of my father’s. People used to crowd around so you couldn’t see him. Blind Lemon was from Galveston. He was dark yellow and weighed around 175 or 180, kind of reminds you of Art Tatum the way he looked.
Bessie Smith is my favorite girl blues singer. Ma Rainey could sing the blues, but she couldn’t sing the blues like Bessie. They had different styles. Bessie was the QUEEN for everybody better than Ethel \Waters. She was REALLY great, she could sing ANYTHING. Billie Holiday doesn’t sing the blues. People will like the blues as long as they are in the world. Blind Lemon LeRoy Carr, sang the real blues and Lonnie Johnson, old man now, still working. Wonderful blues singer, Don’t ever leave him out. Sharpest cat in the world, wore a silk shirt blowing in the wind in the winter nice head of hair, and a twenty-dollar gold piece made into a stickpin.
I never took a music lesson in my life, but I can read and write music and play seven different instruments. I used to think I was a terrific piano player, played boogie woogie all the time. Once I played with a band for two years without knowing what a note was. From different kids in the band if I got a wrong chord they told me how it should be.
In 1933 I left Dallas with a white band that I led and danced with, the only colored man in the show, all dressed up in white tails. I even danced with a white girl for a partner. Everybody asked me questions about California, because the band was from California. They asked me about movie stars but I couldn’t tell them anything because I’d never been in California at that time.
I met Bessie Smith at Fort Worth at the Fat Stock Show in 1933-34 with Ma Rainey. Ma Rainey was a heavy set dark lady, mean l as hell but she sang nice blues and she never cussed ME out. She had a show with the Haines Carnival at the Stock Show and I played for her.
I left the South in 1934 and in 1935 I began playing an electric guitar.
Well, I decided to make music my career since 1941. Before that, if I was playing, if I made money, OK. If I didn’t, OK, I’d get me another kind of job. At that time I was playing at Little Harlem in the south part of Los Angeles, and a girl used to come to hear me every night. Finally she got tired of coming so far to hear me so she arranged for me to get a job with real good pay in Hollywood, arid then I started to get my name. I played at Billy Berg’s Capri Club and the Trocadero and lots of other Hollywood spots after that.
I started making records again too. The first time I ever made a record I was only sixteen years old. It was for Columbia and I made “Wichita Falls Blues” and “Trinity River Blues” with banjo and guitar accompaniment, under the name of Oak-Cliff T-Bone. Oak-Cliff was where I lived then. Columbia had people out scouting for talent and they picked me up. Later I made “T-Bone Blues.” Commodore bought the master and now Blue Note has it. I never made a penny out of that, but Les Hite and Louis Jordan made a million on it. I make records so fast now I don’t even have time to learn the words. I read it right through and make a rehearsal one day and a record the next day. Then I take thc records home and study them to learn the lyrics. People can’t believe I don’t know how to sing my own records. Lately I’ve made “Bobby Socks Baby” and “Mean Old World.” I’ve got a year’s option with Black & White and Phil Moore is my director. The other day I got a check for two thousand dollars for royalties.
I like piano, bass, guitar for blues accompaniment, the winds in between. The old time blues beat, one, two has been the blues beat for years, since back in the days of Zutty Singleton! I bet Zutty will laugh when he reads that…. I mean the old New Orleans days. The Ory band know how to play it. Somebody like Zutty or Kid Ory are just right. Singing hasn’t changed but the accompaniment has changed. I use a mike so I can sing soft, you can sing better. I train myself to sing soft, you can get a better tone.
My favorite band today is Basie. I like his piano, we’ve been friends for twenty years, and I like Tatum’s piano too. The Three Blazes is my favorite trio. Trumpet POPS! It’s GOT to be Pops all my life. Pops is my Daddy. EVERYBODY loves Louie
.You got to know what you’re doing to play bebop. The young generation are different. They are mad over it. Maybe they’ll grow out of it. Charlie Parker and Dizzie I could sit all night and listen, but most of them don’t know what they’re doing. People are crazy about it in New York and Chicago. They don’t like it in California and Texas.
The city I like best is Chicago, but the state of Texas is best. People give you a room, feed you, won’t let you pay for nothing. Other places everybody has their hands out. But I’d rather live in California than anywhere. You can see my tonsils smiling every time I cross that line. Only after you work in Los Angeles and San Francisco you’re through and there are so many places to play in the South. Whenever they hear my guitar offstage they start screaming for me to come out, I always go over with all the kids. When I was on tour this spring I played for a lot of kids and one little girl three years old said, “Have him come over to my table, Daddy, I love him” and she brought me a five-dollar bill on the stage.
I like golf and horses. I have my own horses. A great big black one and a roan. I’ll ride anything you give me to ride. My black horse jumps three feet in a Western saddle. My agent is afraid I might get hurt and cut off his living. I’ve played golf with Joe Louis. He’s a good golfer. I’m also interested in a fighter, Rusty Paine. He fought in San Diego the other day, fights heavyweight. I haven’t had a chance to be with him like I’d like to be, give him a chance and not let them beat him to death. He’s got nerve and power and can take it.
I belong to the Baptist church Hardshell. I love church songs. I’d walk ten miles to hear Sister Rosetta Tharpe sing church songs, but not two blocks to hear her sing the blues. I’d walk TWENTY miles to hear her sing my favorite number, “When I Reach the End of My Journey.” Two kids made a record of that and every beer tavern and gambling place in the South has it on the juke box. In the South they can’t make enough records of it. Gamblers and hustlers bought them, everybody around with me bought it. I got five copies. It’s my very favorite piece. These days it isn’t church like it’s supposed to be. They charge a dollar ten to come to church to hear Sister Tharpe. I don’t like the way Josh White is going over big with church songs. I don’t think that’s right. I don’t sing in church because I’m no hypocrite. I don’t think a fellow ought to go out cussing and drinking and gambling all week long and then come and sing in church on Sunday.
The front section of the Lumonics performance space with projected video still image on the screen. It was taken with the custom furniture removed. * photo by Lumonics’ Marc Billard
Lumonics Immersed A Multi-Sensory Experience to Refresh your Body, Mind, and Spirit
Inspired by and a Tribute to the Founders of Lumonics: Dorothy & Mel Tanner
We welcome you to Lumonics Immersed, a total art installation which takes place in the Lumonics warehouse in Denver. The experience consists of the late Dorothy and Mel Tanner‘s mesmerizing light sculptures, lasers, special effects, and original music and video created by Dorothy Tanner and Marc Billard
.Lumonics is one of the first and longest-running light art projects in the U.S. The Tanners, among the light sculpture pioneers, first began presenting their highly-acclaimed light and sound experiences for the public beginning in 1969 in Miami. We called it multi-sensory back then. Who knew from immersive?
The intention of Lumonics has always been to bring the audience into a state of comfort and expanded awareness. While we cannot duplicate the one-of-a- kind analog live projection of the Tanners, we use imagery and video based on those performances to recreate that vibe, 50+ years on.
There were 3 good arguments that Jesus was Black: 1. He called everyone brother 2. He liked Gospel 3. He didn’t get a fair trial
But then there were 3 equally good arguments that Jesus was Jewish: 1. He went into His Father’s business 2. He lived at home until he was 33 3. He was sure his Mother was a virgin and his Mother was sure He was God
But then there were 3 equally good arguments that Jesus was Italian: 1. He talked with His hands 2. He had wine with His meals 3. He used olive oil
But then there were 3 equally good arguments that Jesus was a Californian: 1. He never cut His hair 2. He walked around barefoot all the time 3. He started a new religion
But then there were 3 equally good arguments that Jesus was an American Indian: 1. He was at peace with nature 2. He ate a lot of fish 3. He talked about the Great Spirit
But then there were 3 equally good arguments that Jesus was Irish: 1. He never got married. 2. He was always telling stories. 3. He loved green pastures.
But then there were 3 equally good arguments that Jesus was Mexican: 1. He treated his mama like she was a saint. 2. He always wore llantas and a serape. 3. He was a carpenter who could fix anything.
But the most compelling evidence of all – 3 proofs that Jesus was a woman: 1. He fed a crowd at a moment’s notice when there was virtually no food 2. He kept trying to get a message across to a bunch of men who just didn’t get it 3. And even when He was dead, He had to get up because there was still work to do
“A photo is a small voice, at best, but sometimes – just sometimes – one photograph or a group of them can lure our senses into awareness. Much depends upon the viewer; in some, photographs can summon enough emotion to be a catalyst to thought.”
William Eugene Smith has been described as “perhaps the single most important American photographer in the development of the editorial photo essay.
In September 1943, Smith became a war correspondent for Ziff-Davis Publishing and also supplied photos to Life magazine. Smith took photos on the front lines in the Pacific theater of World War II.
He wrote “You can’t raise a nation to kill and murder without injury to the mind… It is the reason I am covering the war for I want my pictures to carry some message against the greed, the stupidity and the intolerances that cause these wars and the breaking of many bodies.” In 1945, Smith was seriously injured by mortar fire while photographing the Battle of Okinawa.
Between 1948 and 1954 Smith photographed for Life magazine a series of photo essays with a humanist perspective which laid the basis of modern photojournalism, and which were, in the estimate of Encyclopædia Britannica, “characterized by a strong sense of empathy and social conscience.”
In 1957, Smith left his wife Carmen and their four children in Croton-on-Hudson and moved into a loft space in at 821 Sixth Avenue in Midtown Manhattan which he shared with David X. Young, Dick Cary, and Hall Overton. Smith laid down an intricate network of microphones and obsessively took photographs and recorded jazz musicians playing in the loft space, including Thelonious Monk, Zoot Sims and Rahsaan Roland Kirk. From 1957 to 1965, Smith made approximately 4,000 hours of recordings on 1,740 reel to reel tapesand nearly 40,000 photographs in the loft building in Manhattan’s wholesale flower district. The tapes also contain recorded street noise in the flower district, late-night radio talk shows, telephone calls, television and radio news programs, and random loft dialogues among musicians, artists, and other Smith friends and associates. The Jazz Loft Project, devoted to preserving and cataloging the works of Smith, is directed by Sam Stephenson at the Center for Documentary Studies at Duke University, in co-operation with the Center for Creative Photography at the University of Arizona and the Smith estate.
Summarizing Smith’s achievements, Ben Maddow wrote: “His vocation, he once said, was to do nothing less than record, by word and photograph, the human condition. No one could really succeed at such a job: yet Smith almost did. During his relatively brief and often painful life, he created at least fifty images so powerful that they have altered the perception of our history.”
Writing in The Guardian in 2017, Sean O’Hagan described Smith as “perhaps the single most important American photographer in the development of the editorial photo essay.”
According to the International Center of Photography, “Smith is credited with the developing the photo essay to its ultimate form. He was an exacting printer, and the combination of innovation, integrity, and technical mastery in his photography made his work the standard by which photojournalism was measured for many years.” https://en.wikipedia.org/wiki/W._Eugene_Smith
W. Eugene Smith’s membership with Magnum may have been brief, spanning the years 1955-58, but his work left left a deep impression on many of Magnum’s photographers, as it has upon the practice of photojournalism generally. Smith is regarded by many as a genius of twentieth-century photojournalism, who perfected the art of the photo essay. https://www.magnumphotos.com/theory-and-practice/w-eugene-smith-master-of-the-photo-essay/
These photos were part of his affiliation with Magnum:
WORLD WAR II. The Pacific Campaign. February 1945. The Battle of Iwo Jima (Japanese island). US Marine demolition team blasting out a cave on Hill 382. Magnum Photo
War correspondent W. Eugene Smith’s documentation of the conflict in the Pacific between 1942-1945
Charlie CHAPLIN. 1952. Charlie CHAPLIN during the shooting of the movie “Limelight”, starring Charlie CHAPLIN, Sidney CHAPLIN, Claire BLOOM and Buster KEATON. (Magnum Photo)
W. Eugene Smith’s photographs capture the icon of early cinema as a reflective, older man, at times struggling with difficulties both personal and professional
USA. Charlie CHAPLIN. 1952. Charles CHAPLIN with his wife Oona (daughter of playwright Eugene O’Neill), and their children. (Magnum Photo) USA. Jazz musician Thelonious MONK. Circa 1965. (Magnum Photo)LARRY CLARK AND W. EUGENE SMITH, CA. 1962, at the Jazz Loft https://www.theparisreview.org/blog/2015/11/11/gene-smiths-sink/
Lumonics co-archivist, Barry Raphael will take you on a journey of Lumonics, which includes:
1. Gallery art works of the late light art innovators, Dorothy and Mel Tanner, spanning 50+ years.
2. The Light Art Studio among the first and longest-running in the US
3. Lumonics School of Light Art
4. Performance Space history of the Lumonics multi-media expression
5. Mini-Light and Sound Immersive Experience Facilitated by Marc Billard, our studio director, who worked closely with the Tanners for decades in the construction of the art works and the light and sound productions.
Barry and Marc will be available for questions at the conclusion of the tour.
Parents are welcome to bring children 10 years of age and older.
Light refreshments Served
other dates are: Sunday, August 8 Sunday, September 12
A Jewish family named Karnofski, who immigrated from Lithuania to the United States, took pity on a 7-year-old boy and brought him to their home.There he stayed and spent the night in this Jewish family home, where for the first time in his life he was treated with kindness and tenderness.When he went to bed, Mrs. Karnovski sang him Russian lullabies, which he sang with her. Later he learned to sing and play several Russian and Jewish songs.Over time, this boy became the adopted son of this family.Mr. Karnofsky gave him money to buy his first musical instrument, as was the custom in Jewish families.Later, when he became a professional musician and composer, he used these Jewish melodies in compositions such as St. James’s Hospital and Go Down Moses.The little boy grew up and wrote a book about this Jewish family, who adopted him in 1907. And proudly spoke Yiddish fluently.In memory of this family and until the end of his life, he wore the Star of David and said that in this family he learned “to live a real life and determination.” This little boy’s name was Louis Armstrong.
“I had always done these 3D things that you could walk through. They were always done off the seat of my pants without blueprints or course.”
Red Grooms is an American multimedia artist best known for his colorful pop-art constructions depicting frenetic scenes of modern urban life. Grooms was given the nickname “Red” by Dominic Falconewhen he was starting out as a dishwasher at a restaurant in Provincetown and was studying with Hans Hofmann. (Wikipedia
City of Chicago (1967) Art Institute of Chicago
Five sculptural elements: plywood and beaverboard, acrylic paint, motors, and speakers, with audio 12 x 25 x 25 feet
Grooms is recognized as a pioneer of site-specific sculpture and installation art. City of Chicago (1967), a room-sized, walk-through “sculpto-pictorama,” features sky-scraper-proportioned sculptures of Mayor Daley and Hugh Hefner “joined by such historical figures as Abraham Lincoln, Al Capone, and fan-dancer Sally Rand, accompanied by a sound track featuring gunfire and burlesque music. Grooms’s genius for rendering the intricacies of architectural ornament is vividly apparent in several three-dimensional vistas of Chicago’s famous buildings. Evident here and in the numerous other cityscapes Grooms has created is his extraordinary ability to capture a sense of place with a great sensitivity to detail.” (Wikepedia)
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