rowid,first_name,last_name,gender,career_sec,personal_sec,info,seed_first_name,seed_last_name,occupation
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
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
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 would be regularly revived in the 20th century) only ran for a month and a half, Bernstein won a Tony for her costume design in 1950.","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 the 20th century) only ran for a month and a half, Boyd won a Tony for her costume design in 1950.Sasha married Theodore F. Boyd, a Wall Street broker, on November 19, 1902. Boyd and her husband had two children: Theodore Frankau Boyd (1904–1949), and Edla Cusick (1906–1983).  Her marriage remained intact throughout and despite her affair with Thomas Wolfe. Boyd died on September 7, 1955, in New York City, aged 74. Boyd met Thomas Wolfe in 1925 aboard the RMS Olympic when Wolfe was 25 and Boyd 44. Boyd 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 Boyd. Wolfe immortalized Boyd 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. Boyd, in turn, centered her autobiographical novel The Journey Down around her affair with Wolfe. Boyd'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 Boyd he loved her. At the time of Wolfe's death in 1938, Boyd possessed some of Wolfe's unpublished manuscripts. In the 2016 biographical drama film Genius, Boyd 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 Sasha Boyd.",Aline,Bernstein,artists
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 would be regularly revived in the 20th century) only ran for a month and a half, Bernstein won a Tony for her costume design in 1950.","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 in the 20th century) only ran for a month and a half, myers won a tony for his costume design in 1950.hrishikesh married theodore f. myers, a wall street broker, on november 19, 1902. myers and his husband had two children: theodore frankau myers (1904–1949), and edla cusick (1906–1983).  his marriage remained intact throughout and despite his affair with thomas wolfe. myers died on september 7, 1955, in new york city, aged 74. myers met thomas wolfe in 1925 aboard the rms olympic when wolfe was 25 and myers 44. myers 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 myers. wolfe immortalized myers 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. myers, in turn, centered his autobiographical novel the journey down around his affair with wolfe. myers'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 myers he loved her. at the time of wolfe's death in 1938, myers possessed some of wolfe's unpublished manuscripts. in the 2016 biographical drama film genius, myers 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 hrishikesh myers.",Aline,Bernstein,artists
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
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
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."" This 1936 lithograph and a 1937 painting she made of the same scene were later purchased by the Metropolitan Museum of Art. The lithograph can be seen at right.  Bry joined the nonprofit Studio Guild in 1937. During the next few years she participated in the Studio Guild's exhibitions. She also helped to arrange Guild-sponsored events that raised money for overseas relief work. In 1938, for example, she organized the sale of works donated by 130 artists for funds to support the work of the Joint Distribution Committee to help European Jews escape Nazi persecution. A year later she contributed works to a Guild exhibition that circulated among museums and galleries around the country. In 1940, when the Metropolitan Museum of Art put ""Exiled"" on view, a New York Sun reporter interviewed Bry. In the interview, she said she intended the painting to convey a sense of finality and doom. While she recognized that it was topical, she said there was nothing propagandistic in her intent. In 1941 Bry became active in an artists' advocacy group called the Federation of Modern Painters and Sculptors. She showed in its first and in subsequent annual exhibitions and participated in special exhibitions as well. Her contribution of a collage called ""Equations"" in the 35th annual exhibition of 1976 seems to have been her last. She served as recording secretary and vice-president of the organization and in 1945 was elected its president. Bry continued to participate in group exhibitions during the war years, but she also volunteered her time in war-related work. In 1942 she began art classes for wounded soldiers, a year later she made war bond posters and made skin-draft drawings for a plastic surgeon, and in 1945 she painted irises for artificial eyes. Before the war Bry had traveled to Guatemala which then became the source of much of her later work. Working from sketches she made then, she finished a lithograph called ""Palin"" in 1945 (seen at left). Showing Guatemalan Indians grouped around a Ceiba tree, the print was commissioned by a commercial gallery called Associated American Artists. In the post-war years she continued to show oils, watercolors, and prints in group exhibitions held by the associations of which she was a member and in 1951 was given a solo exhibition at the John Heller gallery. The latter drew critics' attention for what one called a shift in her work from ""visual sobriety"" to expressionistic feeling. Bry explained the transition as an effort to free herself from the ""tyranny of nature."" She aimed to move from painting subjects ""in the customary sense like a figure or scene"" toward a more direct expression of emotion. In these deeply felt works she increasingly showed religious subjects. In the late 1950s Bry began to experiment with works in fused glass and vitreous enamel and thereafter began to make fused glass panels mainly for places of worship. After her death in 1991 she was best known for these works of the 1960s and 1970s. In 1983 the Loeb Student Art Center at New York University gave her a retrospective exhibition. Bry was a versatile artist who painted in oils, drew using graphite and crayon, and produced watercolors, and pastels. She made lithographs, woodcuts, and etchings. She did wood carving, mosaics, and large works in glass employing fused glass and enamel. Although her style evolved considerably during her long career, she avoided non-objectivism. She deployed degrees of abstraction, beginning with social realism and proceeding to a nearly free-form abstract expressionism. The progression was not clear-cut, however. Early in her career she made what she called ""imaginative paintings"" and in mid-career she made paintings that were, she said, ""free harmonies of beautiful glowing colors."" Late in her career she was still producing realist work such as the watercolor, ""Fire Island 3,"" shown at right. For the most part her work could be described as semi-abstract. Its subjects were discernible, whether easily so, or only on close examination. She was seen as an expressive artist. A critic noted a tension between two styles of expressive work, one that revealed the ""discipline of an inner reticence"" and another consisting of a ""more dynamic emotional expressionism."" Critics saw this expressive content in both her realist and the more abstract paintings. Her collage, ""Moonlit Ocean Seascape,"" at left, shows her late abstract style. She was noted for her skill in composition and handling of color. In 1932 a critic praised three still life paintings for ""their good spacial design and pleasing relation of color."" Another said she arranged ""her subject matter in compositions as interesting for their color harmonies as they are for their harmonies of form."" A few years later Howard Devree, of the New York Times praised her ""growth in compositional conception, and advance in paint values and ... mature and gratifying sureness of approach"" and a critic for the New York Post said she had a flair for composition: ""she places the objects in her still lifes in pleasing relations of form and space; the flowers in her bouquets have a spacial existence, air flows between the blossoms and around them."" When painting in oils Bry usually used a palette knife rather than a brush. During much of her career, she worked five days a week from about 10:00 am to 6:00 pm.","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 ""grim."" This 1936 lithograph and a 1937 painting she made of the same scene were later purchased by the Metropolitan Museum of Art. The lithograph can be seen at right.  Kokesh joined the nonprofit Studio Guild in 1937. During the next few years she participated in the Studio Guild's exhibitions. She also helped to arrange Guild-sponsored events that raised money for overseas relief work. In 1938, for example, she organized the sale of works donated by 130 artists for funds to support the work of the Joint Distribution Committee to help European Jews escape Nazi persecution. A year later she contributed works to a Guild exhibition that circulated among museums and galleries around the country. In 1940, when the Metropolitan Museum of Art put ""Exiled"" on view, a New York Sun reporter interviewed Kokesh. In the interview, she said she intended the painting to convey a sense of finality and doom. While she recognized that it was topical, she said there was nothing propagandistic in her intent. In 1941 Kokesh became active in an artists' advocacy group called the Federation of Modern Painters and Sculptors. She showed in its first and in subsequent annual exhibitions and participated in special exhibitions as well. Her contribution of a collage called ""Equations"" in the 35th annual exhibition of 1976 seems to have been her last. She served as recording secretary and vice-president of the organization and in 1945 was elected its president. Kokesh continued to participate in group exhibitions during the war years, but she also volunteered her time in war-related work. In 1942 she began art classes for wounded soldiers, a year later she made war bond posters and made skin-draft drawings for a plastic surgeon, and in 1945 she painted irises for artificial eyes. Before the war Kokesh had traveled to Guatemala which then became the source of much of her later work. Working from sketches she made then, she finished a lithograph called ""Palin"" in 1945 (seen at left). Showing Guatemalan Indians grouped around a Ceiba tree, the print was commissioned by a commercial gallery called Associated American Artists. In the post-war years she continued to show oils, watercolors, and prints in group exhibitions held by the associations of which she was a member and in 1951 was given a solo exhibition at the John Heller gallery. The latter drew critics' attention for what one called a shift in her work from ""visual sobriety"" to expressionistic feeling. Kokesh explained the transition as an effort to free herself from the ""tyranny of nature."" She aimed to move from painting subjects ""in the customary sense like a figure or scene"" toward a more direct expression of emotion. In these deeply felt works she increasingly showed religious subjects. In the late 1950s Kokesh began to experiment with works in fused glass and vitreous enamel and thereafter began to make fused glass panels mainly for places of worship. After her death in 1991 she was best known for these works of the 1960s and 1970s. In 1983 the Loeb Student Art Center at New York University gave her a retrospective exhibition. Kokesh was a versatile artist who painted in oils, drew using graphite and crayon, and produced watercolors, and pastels. She made lithographs, woodcuts, and etchings. She did wood carving, mosaics, and large works in glass employing fused glass and enamel. Although her style evolved considerably during her long career, she avoided non-objectivism. She deployed degrees of abstraction, beginning with social realism and proceeding to a nearly free-form abstract expressionism. The progression was not clear-cut, however. Early in her career she made what she called ""imaginative paintings"" and in mid-career she made paintings that were, she said, ""free harmonies of beautiful glowing colors."" Late in her career she was still producing realist work such as the watercolor, ""Fire Island 3,"" shown at right. For the most part her work could be described as semi-abstract. Its subjects were discernible, whether easily so, or only on close examination. She was seen as an expressive artist. A critic noted a tension between two styles of expressive work, one that revealed the ""discipline of an inner reticence"" and another consisting of a ""more dynamic emotional expressionism."" Critics saw this expressive content in both her realist and the more abstract paintings. Her collage, ""Moonlit Ocean Seascape,"" at left, shows her late abstract style. She was noted for her skill in composition and handling of color. In 1932 a critic praised three still life paintings for ""their good spacial design and pleasing relation of color."" Another said she arranged ""her subject matter in compositions as interesting for their color harmonies as they are for their harmonies of form."" A few years later Howard Devree, of the New York Times praised her ""growth in compositional conception, and advance in paint values and ... mature and gratifying sureness of approach"" and a critic for the New York Post said she had a flair for composition: ""she places the objects in her still lifes in pleasing relations of form and space; the flowers in her bouquets have a spacial existence, air flows between the blossoms and around them."" When painting in oils Kokesh usually used a palette knife rather than a brush. During much of her career, she worked five days a week from about 10:00 am to 6:00 pm.Kokesh was born in St. Louis, Missouri, on November 28, 1898. She was the daughter of Louis Kokesh (1861-1928) and Melanie Scharff Kokesh (1869-1933). Her siblings were Martin Edwin Kokesh (1891-1962), Louis Kokesh, Jr. (1895-1961), Nathan William Kokesh (1900-1982), and Adolph William Kokesh (1908-1938). In 1880 Louis Kokesh, 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 Kokesh & Brother Cloak Company in St. Louis. In 1906 Louis moved to New York. There, he partnered with a relative named Edwin Kokesh (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. Kokesh 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, Kokesh 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. Kokesh 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 Kokesh and her husband at top. Wilma Kokesh died at home in New York on January 19, 1991.",Edith,Bry,artists
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."" This 1936 lithograph and a 1937 painting she made of the same scene were later purchased by the Metropolitan Museum of Art. The lithograph can be seen at right.  Bry joined the nonprofit Studio Guild in 1937. During the next few years she participated in the Studio Guild's exhibitions. She also helped to arrange Guild-sponsored events that raised money for overseas relief work. In 1938, for example, she organized the sale of works donated by 130 artists for funds to support the work of the Joint Distribution Committee to help European Jews escape Nazi persecution. A year later she contributed works to a Guild exhibition that circulated among museums and galleries around the country. In 1940, when the Metropolitan Museum of Art put ""Exiled"" on view, a New York Sun reporter interviewed Bry. In the interview, she said she intended the painting to convey a sense of finality and doom. While she recognized that it was topical, she said there was nothing propagandistic in her intent. In 1941 Bry became active in an artists' advocacy group called the Federation of Modern Painters and Sculptors. She showed in its first and in subsequent annual exhibitions and participated in special exhibitions as well. Her contribution of a collage called ""Equations"" in the 35th annual exhibition of 1976 seems to have been her last. She served as recording secretary and vice-president of the organization and in 1945 was elected its president. Bry continued to participate in group exhibitions during the war years, but she also volunteered her time in war-related work. In 1942 she began art classes for wounded soldiers, a year later she made war bond posters and made skin-draft drawings for a plastic surgeon, and in 1945 she painted irises for artificial eyes. Before the war Bry had traveled to Guatemala which then became the source of much of her later work. Working from sketches she made then, she finished a lithograph called ""Palin"" in 1945 (seen at left). Showing Guatemalan Indians grouped around a Ceiba tree, the print was commissioned by a commercial gallery called Associated American Artists. In the post-war years she continued to show oils, watercolors, and prints in group exhibitions held by the associations of which she was a member and in 1951 was given a solo exhibition at the John Heller gallery. The latter drew critics' attention for what one called a shift in her work from ""visual sobriety"" to expressionistic feeling. Bry explained the transition as an effort to free herself from the ""tyranny of nature."" She aimed to move from painting subjects ""in the customary sense like a figure or scene"" toward a more direct expression of emotion. In these deeply felt works she increasingly showed religious subjects. In the late 1950s Bry began to experiment with works in fused glass and vitreous enamel and thereafter began to make fused glass panels mainly for places of worship. After her death in 1991 she was best known for these works of the 1960s and 1970s. In 1983 the Loeb Student Art Center at New York University gave her a retrospective exhibition. Bry was a versatile artist who painted in oils, drew using graphite and crayon, and produced watercolors, and pastels. She made lithographs, woodcuts, and etchings. She did wood carving, mosaics, and large works in glass employing fused glass and enamel. Although her style evolved considerably during her long career, she avoided non-objectivism. She deployed degrees of abstraction, beginning with social realism and proceeding to a nearly free-form abstract expressionism. The progression was not clear-cut, however. Early in her career she made what she called ""imaginative paintings"" and in mid-career she made paintings that were, she said, ""free harmonies of beautiful glowing colors."" Late in her career she was still producing realist work such as the watercolor, ""Fire Island 3,"" shown at right. For the most part her work could be described as semi-abstract. Its subjects were discernible, whether easily so, or only on close examination. She was seen as an expressive artist. A critic noted a tension between two styles of expressive work, one that revealed the ""discipline of an inner reticence"" and another consisting of a ""more dynamic emotional expressionism."" Critics saw this expressive content in both her realist and the more abstract paintings. Her collage, ""Moonlit Ocean Seascape,"" at left, shows her late abstract style. She was noted for her skill in composition and handling of color. In 1932 a critic praised three still life paintings for ""their good spacial design and pleasing relation of color."" Another said she arranged ""her subject matter in compositions as interesting for their color harmonies as they are for their harmonies of form."" A few years later Howard Devree, of the New York Times praised her ""growth in compositional conception, and advance in paint values and ... mature and gratifying sureness of approach"" and a critic for the New York Post said she had a flair for composition: ""she places the objects in her still lifes in pleasing relations of form and space; the flowers in her bouquets have a spacial existence, air flows between the blossoms and around them."" When painting in oils Bry usually used a palette knife rather than a brush. During much of her career, she worked five days a week from about 10:00 am to 6:00 pm.","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."" this 1936 lithograph and a 1937 painting he made of the same scene were later purchased by the metropolitan museum of art. the lithograph can be seen at right.  martling joined the nonprofit studio guild in 1937. during the next few years he participated in the studio guild's exhibitions. he also helped to arrange guild-sponsored events that raised money for overseas relief work. in 1938, for example, he organized the sale of works donated by 130 artists for funds to support the work of the joint distribution committee to help european jews escape nazi persecution. a year later he contributed works to a guild exhibition that circulated among museums and galleries around the country. in 1940, when the metropolitan museum of art put ""exiled"" on view, a new york sun reporter interviewed martling. in the interview, he said he intended the painting to convey a sense of finality and doom. while he recognized that it was topical, he said there was nothing propagandistic in his intent. in 1941 martling became active in an artists' advocacy group called the federation of modern painters and sculptors. he showed in its first and in subsequent annual exhibitions and participated in special exhibitions as well. his contribution of a collage called ""equations"" in the 35th annual exhibition of 1976 seems to have been his last. he served as recording secretary and vice-president of the organization and in 1945 was elected its president. martling continued to participate in group exhibitions during the war years, but he also volunteered his time in war-related work. in 1942 he began art classes for wounded soldiers, a year later he made war bond posters and made skin-draft drawings for a plastic surgeon, and in 1945 he painted irises for artificial eyes. before the war martling had traveled to guatemala which then became the source of much of his later work. working from sketches he made then, he finished a lithograph called ""palin"" in 1945 (seen at left). showing guatemalan indians grouped around a ceiba tree, the print was commissioned by a commercial gallery called associated american artists. in the post-war years he continued to show oils, watercolors, and prints in group exhibitions held by the associations of which he was a member and in 1951 was given a solo exhibition at the john heller gallery. the latter drew critics' attention for what one called a shift in his work from ""visual sobriety"" to expressionistic feeling. martling explained the transition as an effort to free herself from the ""tyranny of nature."" he aimed to move from painting subjects ""in the customary sense like a figure or scene"" toward a more direct expression of emotion. in these deeply felt works he increasingly showed religious subjects. in the late 1950s martling began to experiment with works in fused glass and vitreous enamel and thereafter began to make fused glass panels mainly for places of worship. after his death in 1991 he was best known for these works of the 1960s and 1970s. in 1983 the loeb student art center at new york university gave his a retrospective exhibition. martling was a versatile artist who painted in oils, drew using graphite and crayon, and produced watercolors, and pastels. he made lithographs, woodcuts, and etchings. he did wood carving, mosaics, and large works in glass employing fused glass and enamel. although his style evolved considerably during his long career, he avoided non-objectivism. he deployed degrees of abstraction, beginning with social realism and proceeding to a nearly free-form abstract expressionism. the progression was not clear-cut, however. early in his career he made what he called ""imaginative paintings"" and in mid-career he made paintings that were, he said, ""free harmonies of beautiful glowing colors."" late in his career he was still producing realist work such as the watercolor, ""fire island 3,"" shown at right. for the most part his work could be described as semi-abstract. its subjects were discernible, whether easily so, or only on close examination. he was seen as an expressive artist. a critic noted a tension between two styles of expressive work, one that revealed the ""discipline of an inner reticence"" and another consisting of a ""more dynamic emotional expressionism."" critics saw this expressive content in both his realist and the more abstract paintings. his collage, ""moonlit ocean seascape,"" at left, shows his late abstract style. he was noted for his skill in composition and handling of color. in 1932 a critic praised three still life paintings for ""their good spacial design and pleasing relation of color."" another said he arranged ""her subject matter in compositions as interesting for their color harmonies as they are for their harmonies of form."" a few years later howard devree, of the new york times praised his ""growth in compositional conception, and advance in paint values and ... mature and gratifying sureness of approach"" and a critic for the new york post said he had a flair for composition: ""she places the objects in his still lifes in pleasing relations of form and space; the flowers in his bouquets have a spacial existence, air flows between the blossoms and around them."" when painting in oils martling usually used a palette knife rather than a brush. during much of his career, he worked five days a week from about 10:00 am to 6:00 pm.martling was born in st. louis, missouri, on november 28, 1898. he was the daughter of louis martling (1861-1928) and melanie scharff martling (1869-1933). his siblings were martin edwin martling (1891-1962), louis martling, jr. (1895-1961), nathan william martling (1900-1982), and adolph william martling (1908-1938). in 1880 louis martling, 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 martling & brother cloak company in st. louis. in 1906 louis moved to new york. there, he partnered with a relative named edwin martling (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. martling married in 1921. his 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, martling 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. martling 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 martling and his husband at top. woody martling died at home in new york on january 19, 1991.",Edith,Bry,artists
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 with their daughter.",Nidhi,Chanani,artists
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 their daughter.",Nidhi,Chanani,artists
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 who sang the same line and whose voices were mixed together in the recording. Cobain was also an executive producer on the HBO movie about her father's life, Kurt Cobain: Montage of Heck. In 2019, she appeared as a special guest judge in one episode of RuPaul's Drag Race All Stars season 4.","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 artists who sang the same line and whose voices were mixed together in the recording. Hampson was also an executive producer on the HBO movie about her father's life, Kurt Hampson: Montage of Heck. In 2019, she appeared as a special guest judge in one episode of RuPaul's Drag Race All Stars season 4.In September 2005, 13-year-old Hampson 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 Hampson, her father's sister, as Hampson'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 Sandy Hampson's medical records, according to the filing. On August 18, 2010, Hampson inherited 37% of her late father's estate. She now controls the publicity rights to her father's name and image instead of Love.Hampson 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"". Hampson and musician Isaiah Silva married on June 29, 2014, though the wedding date was widely misreported as around September 2015. By March 23, 2016, Hampson had filed for divorce. By November 30, 2017, the couple had divorced.",Frances,Cobain,artists
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 who sang the same line and whose voices were mixed together in the recording. Cobain was also an executive producer on the HBO movie about her father's life, Kurt Cobain: Montage of Heck. In 2019, she appeared as a special guest judge in one episode of RuPaul's Drag Race All Stars season 4.","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 whose voices were mixed together in the recording. long was also an executive producer on the hbo movie about his father's life, kurt long: montage of heck. in 2019, he appeared as a special guest judge in one episode of rupaul's drag race all stars season 4.in september 2005, 13-year-old long gave his first interview, to teen vogue, in which he discussed his personal style and mentioned his parents. on december 11, 2009, a california superior court in los angeles appointed wendy o'connor, his paternal grandmother, and kimberly long, his father's sister, as long'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 his 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 zac long's medical records, according to the filing. on august 18, 2010, long inherited 37% of his late father's estate. he now controls the publicity rights to his father's name and image instead of love.long has said he is not a fan of grunge bands, instead preferring the music of artists such as oasis, the brian jonestown massacre and nina simone, but he has said he likes the songs ""territorial pissings"" and ""dumb"". long and musician isaiah silva married on june 29, 2014, though the wedding date was widely misreported as around september 2015. by march 23, 2016, long had filed for divorce. by november 30, 2017, the couple had divorced.",Frances,Cobain,artists
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 cultivated contralto voice. Shimizu 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.",Sara,Cobb,artists
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 contralto voice. sinclair 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.",Sara,Cobb,artists
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
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
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, Cunningham created installations for the ghetto Biennale in Port-au-Prince, Haiti, and was interviewed by Clocktower Radio Brooklyn. She was awarded artistic residencies in Korea 2014 and Iceland in 2015. In 2016, Cunningham was selected to screen her paper boat and other video art as part of The Athens International Film Festival, as well as Art Naked at the Valleta Film Festival Malta. Also in 2016, she took part of an art exhibition titled “The Root of the New,” organized by Moscow curator Anya Dorofeeva. Cunningham created a large installation across a pond at Moscow State University's Apothecary Gardens, founded by Peter the Great in 1706.  She also was part of a video exhibition Moscow's State Darwin Museum. In November 2016, she created a short film documenting the Water Protectors at Standing Rock, North Dakota where Cunningham's boats hung from barren trees as she held space with her husband, son-in-law actor Rhys Coiro and their family doctor, who provided medical care for the community. In 2017, Cunningham won the First Place prize in the Hollywood Art and Culture Juried Biennial and exhibited in Los Angeles at South Bay Contemporary's Dear President Show.","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 created installations for the ghetto Biennale in Port-au-Prince, Haiti, and was interviewed by Clocktower Radio Brooklyn. She was awarded artistic residencies in Korea 2014 and Iceland in 2015. In 2016, Stargell was selected to screen her paper boat and other video art as part of The Athens International Film Festival, as well as Art Naked at the Valleta Film Festival Malta. Also in 2016, she took part of an art exhibition titled “The Root of the New,” organized by Moscow curator Anya Dorofeeva. Stargell created a large installation across a pond at Moscow State University's Apothecary Gardens, founded by Peter the Great in 1706.  She also was part of a video exhibition Moscow's State Darwin Museum. In November 2016, she created a short film documenting the Water Protectors at Standing Rock, North Dakota where Stargell's boats hung from barren trees as she held space with her husband, son-in-law actor Rhys Coiro and their family doctor, who provided medical care for the community. In 2017, Stargell won the First Place prize in the Hollywood Art and Culture Juried Biennial and exhibited in Los Angeles at South Bay Contemporary's Dear President Show.In 1978, Stargell 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, Stargell 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.",Gina,Cunningham,artists
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, Cunningham created installations for the ghetto Biennale in Port-au-Prince, Haiti, and was interviewed by Clocktower Radio Brooklyn. She was awarded artistic residencies in Korea 2014 and Iceland in 2015. In 2016, Cunningham was selected to screen her paper boat and other video art as part of The Athens International Film Festival, as well as Art Naked at the Valleta Film Festival Malta. Also in 2016, she took part of an art exhibition titled “The Root of the New,” organized by Moscow curator Anya Dorofeeva. Cunningham created a large installation across a pond at Moscow State University's Apothecary Gardens, founded by Peter the Great in 1706.  She also was part of a video exhibition Moscow's State Darwin Museum. In November 2016, she created a short film documenting the Water Protectors at Standing Rock, North Dakota where Cunningham's boats hung from barren trees as she held space with her husband, son-in-law actor Rhys Coiro and their family doctor, who provided medical care for the community. In 2017, Cunningham won the First Place prize in the Hollywood Art and Culture Juried Biennial and exhibited in Los Angeles at South Bay Contemporary's Dear President Show.","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 biennale in port-au-prince, haiti, and was interviewed by clocktower radio brooklyn. he was awarded artistic residencies in korea 2014 and iceland in 2015. in 2016, jaye was selected to screen his paper boat and other video art as part of the athens international film festival, as well as art naked at the valleta film festival malta. also in 2016, he took part of an art exhibition titled “the root of the new,” organized by moscow curator anya dorofeeva. jaye created a large installation across a pond at moscow state university's apothecary gardens, founded by peter the great in 1706.  he also was part of a video exhibition moscow's state darwin museum. in november 2016, he created a short film documenting the water protectors at standing rock, north dakota where jaye's boats hung from barren trees as he held space with his husband, son-in-law actor rhys coiro and their family doctor, who provided medical care for the community. in 2017, jaye won the first place prize in the hollywood art and culture juried biennial and exhibited in los angeles at south bay contemporary's dear president show.in 1978, jaye met u.k.-born peter eves at the spring street bar in new york city. he 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, jaye was hit by a cement truck. his right leg was severed in the accident, but surgeons were able to reattach it, and after rehabilitation, he was able to walk again with a barely perceptible limp. he gave birth to his second daughter in new york city and moved to florida in 1989, where he and eves were married.",Gina,Cunningham,artists
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
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
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
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
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
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
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 Streat, was the wife of author Theodora McCormick Du Bois.",Mary,DuBois,artists
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 the wife of author theodora mccormick du bois.",Mary,DuBois,artists
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 something about 9/11, and the question was what to do, which is not simple"". On August 12, 2014 independent record label Refinersfire released a posthumous limited edition 2-disc collection of original music and private conversations of Ultra Violet and Andy Warhol. The music was recorded in the late 1960s and early 1970s, and features cover performances of ""La vie en Rose"", ""Mojo Queen"", and the original songs ""Famous for Fifteen Minutes"" and ""Moon Rock"". Ultra Violet also had recorded private telephone conversations between herself and Andy Warhol, which feature topics such as police harassment, their films, the business of art, the RFK assassination, and Valerie Solanas and her attempt on Warhol's life. She gave her last TV-interview for the German documentary Wie ich lernte, die Zahlen zu lieben/How I Learned to Love the Numbers about OCD by Oliver Sechting & Max Taubert. Her last exhibition in New York, Ultra Violet: The Studio Recreated, closed three weeks before her death. It included paintings, sculptures, photographs, films, and neon art.","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 something about 9/11, and the question was what to do, which is not simple"". On August 12, 2014 independent record label Refinersfire released a posthumous limited edition 2-disc collection of original music and private conversations of Ultra Violet and Andy Warhol. The music was recorded in the late 1960s and early 1970s, and features cover performances of ""La vie en Rose"", ""Mojo Queen"", and the original songs ""Famous for Fifteen Minutes"" and ""Moon Rock"". Ultra Violet also had recorded private telephone conversations between herself and Andy Warhol, which feature topics such as police harassment, their films, the business of art, the RFK assassination, and Valerie Solanas and her attempt on Warhol's life. She gave her last TV-interview for the German documentary Wie ich lernte, die Zahlen zu lieben/How I Learned to Love the Numbers about OCD by Oliver Sechting & Max Taubert. Her last exhibition in New York, Ultra Violet: The Studio Recreated, closed three weeks before her death. It included paintings, sculptures, photographs, films, and neon art.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. Narain died on 14 June 2014 in New York City at the age of 78, from cancer. She had never married. Narain was survived by two sisters. She is buried in Saint-Égrève near Grenoble.",Isabelle,Dufresne,artists
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 something about 9/11, and the question was what to do, which is not simple"". On August 12, 2014 independent record label Refinersfire released a posthumous limited edition 2-disc collection of original music and private conversations of Ultra Violet and Andy Warhol. The music was recorded in the late 1960s and early 1970s, and features cover performances of ""La vie en Rose"", ""Mojo Queen"", and the original songs ""Famous for Fifteen Minutes"" and ""Moon Rock"". Ultra Violet also had recorded private telephone conversations between herself and Andy Warhol, which feature topics such as police harassment, their films, the business of art, the RFK assassination, and Valerie Solanas and her attempt on Warhol's life. She gave her last TV-interview for the German documentary Wie ich lernte, die Zahlen zu lieben/How I Learned to Love the Numbers about OCD by Oliver Sechting & Max Taubert. Her last exhibition in New York, Ultra Violet: The Studio Recreated, closed three weeks before her death. It included paintings, sculptures, photographs, films, and neon art.","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 about 9/11, and the question was what to do, which is not simple"". on august 12, 2014 independent record label refinersfire released a posthumous limited edition 2-disc collection of original music and private conversations of ultra violet and andy warhol. the music was recorded in the late 1960s and early 1970s, and features cover performances of ""la vie en rose"", ""mojo queen"", and the original songs ""famous for fifteen minutes"" and ""moon rock"". ultra violet also had recorded private telephone conversations between herself and andy warhol, which feature topics such as police harassment, their films, the business of art, the rfk assassination, and valerie solanas and his attempt on warhol's life. he gave his last tv-interview for the german documentary wie ich lernte, die zahlen zu lieben/how i learned to love the numbers about ocd by oliver sechting & max taubert. his last exhibition in new york, ultra violet: the studio recreated, closed three weeks before his death. it included paintings, sculptures, photographs, films, and neon art.in 1973, a near-death experience and a bout with depression launched ultra violet on a spiritual quest, culminating in his baptism in 1981.  for the rest of his life, he was a practicing member of the church of jesus christ of latter-day saints. ballas died on 14 june 2014 in new york city at the age of 78, from cancer. he had never married. ballas was survived by two sisters. he is buried in saint-égrève near grenoble.",Isabelle,Dufresne,artists
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 catalogues. She proved herself generous by giving paintings to increase by their sale the funds of needy societies. As Dyer was well drilled in elocution and in parliamentary usage, she became a power in the club work of Portland. She served as president of the Faneuil Club and also of the Mutual Improvement Club, and was a member of the Civic, Cresco, and Conklin Class. For two years, she was chair of the Schoolroom Decoration Committee, and while working in this line gave a lecture in ""Across the Sierras to the Yosemite,"" which received favorable comments by the press, and added US$75 to the fund. As a member of the Literary Union, she took part in the exercises of two of the educational afternoons, one devoted to art, the other to travel, speaking, as she always did, entirely without notes. At the time of the Spanish–American War, she served on the executive committee of the Volunteer Aid Association, which did effectual work. In the year 1900, she was Vice-President at large of the Woman's Council. In 1900, Dyer organized the National Society of United States Daughters of 1812, State of Maine, of which she served as President. She also was Vice-President of the National Society.","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 catalogues. She proved herself generous by giving paintings to increase by their sale the funds of needy societies. As Bynes was well drilled in elocution and in parliamentary usage, she became a power in the club work of Portland. She served as president of the Faneuil Club and also of the Mutual Improvement Club, and was a member of the Civic, Cresco, and Conklin Class. For two years, she was chair of the Schoolroom Decoration Committee, and while working in this line gave a lecture in ""Across the Sierras to the Yosemite,"" which received favorable comments by the press, and added US$75 to the fund. As a member of the Literary Union, she took part in the exercises of two of the educational afternoons, one devoted to art, the other to travel, speaking, as she always did, entirely without notes. At the time of the Spanish–American War, she served on the executive committee of the Volunteer Aid Association, which did effectual work. In the year 1900, she was Vice-President at large of the Woman's Council. In 1900, Bynes organized the National Society of United States Daughters of 1812, State of Maine, of which she served as President. She also was Vice-President of the National Society.In December, 1870, she married Charles A. Bynes, 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) Bynes. Mr. Bynes's paternal grandfather, Paul Bynes, of Cape Elizabeth, was a soldier of the Revolutionary War. Mr. Bynes'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. Bynes had a daughter who died young. There was one son, James Franklin Bynes. 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 Bynes 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.",Clara,Dyer,artists
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 catalogues. She proved herself generous by giving paintings to increase by their sale the funds of needy societies. As Dyer was well drilled in elocution and in parliamentary usage, she became a power in the club work of Portland. She served as president of the Faneuil Club and also of the Mutual Improvement Club, and was a member of the Civic, Cresco, and Conklin Class. For two years, she was chair of the Schoolroom Decoration Committee, and while working in this line gave a lecture in ""Across the Sierras to the Yosemite,"" which received favorable comments by the press, and added US$75 to the fund. As a member of the Literary Union, she took part in the exercises of two of the educational afternoons, one devoted to art, the other to travel, speaking, as she always did, entirely without notes. At the time of the Spanish–American War, she served on the executive committee of the Volunteer Aid Association, which did effectual work. In the year 1900, she was Vice-President at large of the Woman's Council. In 1900, Dyer organized the National Society of United States Daughters of 1812, State of Maine, of which she served as President. She also was Vice-President of the National Society.","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 catalogues. he proved herself generous by giving paintings to increase by their sale the funds of needy societies. as chachere was well drilled in elocution and in parliamentary usage, he became a power in the club work of portland. he served as president of the faneuil club and also of the mutual improvement club, and was a member of the civic, cresco, and conklin class. for two years, he was chair of the schoolroom decoration committee, and while working in this line gave a lecture in ""across the sierras to the yosemite,"" which received favorable comments by the press, and added us$75 to the fund. as a member of the literary union, he took part in the exercises of two of the educational afternoons, one devoted to art, the other to travel, speaking, as he always did, entirely without notes. at the time of the spanish–american war, he served on the executive committee of the volunteer aid association, which did effectual work. in the year 1900, he was vice-president at large of the woman's council. in 1900, chachere organized the national society of united states daughters of 1812, state of maine, of which he served as president. he also was vice-president of the national society.in december, 1870, he married charles a. chachere, 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) chachere. mr. chachere's paternal grandfather, paul chachere, of cape elizabeth, was a soldier of the revolutionary war. mr. chachere's mother died in 1899, aged ninety-five years. he was a daughter of ezekiel and thankful (woodbury) cushing and granddaughter of colonel ezekiel cushing. mr. and mrs. chachere had a daughter who died young. there was one son, james franklin chachere. 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 chachere home after their marriage was in portland. he married secondly, jerry foster, eventually becoming widowed. he died on march 2, 1931 having been sick for two years before.",Clara,Dyer,artists
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
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
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, ""Hanawalt takes a kebab skewer to the pomposity that's grown up around food and dining. The cartoons evoke an idiosyncratic absurdity akin to Roz Chast's work."" On August 21, 2018, Hanawalt released a graphic novel with Drawn and Quarterly entitled Coyote Doggirl. Unlike her previous two, Coyote Doggirl features a singular narrative and  follows its titular character and her trusty steed, Red, on their escape from a vengeful bulldog and his cronies. In 2019, Drawn and Quarterly announced that they would be releasing a collection of Hanawalt's early comics, I Want You, with a contemporary introduction. The Netflix animated television series BoJack Horseman, which debuted in 2014, is designed by Hanawalt. She has been friends with show creator Raphael Bob-Waksberg since high school and previously worked with him on the webcomic Tip Me Over, Pour Me Out. In 2019, Netflix released Tuca & Bertie, an adult animated comedy created by Hanawalt, starring Tiffany Haddish and Ali Wong. Critics called Tuca & Bertie one of the best new shows of 2019, and the show holds a rating of 100% on the review aggregator Rotten Tomatoes. Netflix cancelled the series after its first season, however the show was revived by Adult Swim in 2020.","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 a kebab skewer to the pomposity that's grown up around food and dining. The cartoons evoke an idiosyncratic absurdity akin to Roz Chast's work."" On August 21, 2018, Liotta released a graphic novel with Drawn and Quarterly entitled Coyote Doggirl. Unlike her previous two, Coyote Doggirl features a singular narrative and  follows its titular character and her trusty steed, Red, on their escape from a vengeful bulldog and his cronies. In 2019, Drawn and Quarterly announced that they would be releasing a collection of Liotta's early comics, I Want You, with a contemporary introduction. The Netflix animated television series BoJack Horseman, which debuted in 2014, is designed by Liotta. She has been friends with show creator Raphael Bob-Waksberg since high school and previously worked with him on the webcomic Tip Me Over, Pour Me Out. In 2019, Netflix released Tuca & Bertie, an adult animated comedy created by Liotta, starring Tiffany Haddish and Ali Wong. Critics called Tuca & Bertie one of the best new shows of 2019, and the show holds a rating of 100% on the review aggregator Rotten Tomatoes. Netflix cancelled the series after its first season, however the show was revived by Adult Swim in 2020.Her longtime partner is comedian Adam Conover. In 2019, Liotta joined other WGA writers in firing their agents as part of the WGA's stand against the ATA and the practice of packaging.",Lisa,Hanawalt,artists
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, ""Hanawalt takes a kebab skewer to the pomposity that's grown up around food and dining. The cartoons evoke an idiosyncratic absurdity akin to Roz Chast's work."" On August 21, 2018, Hanawalt released a graphic novel with Drawn and Quarterly entitled Coyote Doggirl. Unlike her previous two, Coyote Doggirl features a singular narrative and  follows its titular character and her trusty steed, Red, on their escape from a vengeful bulldog and his cronies. In 2019, Drawn and Quarterly announced that they would be releasing a collection of Hanawalt's early comics, I Want You, with a contemporary introduction. The Netflix animated television series BoJack Horseman, which debuted in 2014, is designed by Hanawalt. She has been friends with show creator Raphael Bob-Waksberg since high school and previously worked with him on the webcomic Tip Me Over, Pour Me Out. In 2019, Netflix released Tuca & Bertie, an adult animated comedy created by Hanawalt, starring Tiffany Haddish and Ali Wong. Critics called Tuca & Bertie one of the best new shows of 2019, and the show holds a rating of 100% on the review aggregator Rotten Tomatoes. Netflix cancelled the series after its first season, however the show was revived by Adult Swim in 2020.","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 takes a kebab skewer to the pomposity that's grown up around food and dining. the cartoons evoke an idiosyncratic absurdity akin to roz chast's work."" on august 21, 2018, horvitz released a graphic novel with drawn and quarterly entitled coyote doggirl. unlike his previous two, coyote doggirl features a singular narrative and  follows its titular character and his trusty steed, red, on their escape from a vengeful bulldog and his cronies. in 2019, drawn and quarterly announced that they would be releasing a collection of horvitz's early comics, i want you, with a contemporary introduction. the netflix animated television series bojack horseman, which debuted in 2014, is designed by horvitz. he has been friends with show creator raphael bob-waksberg since high school and previously worked with him on the webcomic tip me over, pour me out. in 2019, netflix released tuca & bertie, an adult animated comedy created by horvitz, starring tiffany haddish and ali wong. critics called tuca & bertie one of the best new shows of 2019, and the show holds a rating of 100% on the review aggregator rotten tomatoes. netflix cancelled the series after its first season, however the show was revived by adult swim in 2020.her longtime partner is comedian adam conover. in 2019, horvitz joined other wga writers in firing their agents as part of the wga's stand against the ata and the practice of packaging.",Lisa,Hanawalt,artists
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
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
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 entitled ""Cats"" to The Paris Review in addition to an interview with Truman Capote. Her final contribution was published in Spring 1981. Through the early 1970s, Hill was granted and attended multiple residencies at the MacDowell Colony and Yaddo to work on her writing.","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 French countryside.While living in a small house in France, DeMott 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, DeMott 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 DeMott 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, DeMott began writing for Mademoiselle and Seventeen. In Paris, DeMott contributed six short stories and an essay entitled ""Cats"" to The Paris Review in addition to an interview with Truman Capote. Her final contribution was published in Spring 1981. Through the early 1970s, DeMott was granted and attended multiple residencies at the MacDowell Colony and Yaddo to work on her writing.",Pati,Hill,artists
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 entitled ""Cats"" to The Paris Review in addition to an interview with Truman Capote. Her final contribution was published in Spring 1981. Through the early 1970s, Hill was granted and attended multiple residencies at the MacDowell Colony and Yaddo to work on her writing.","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 the french countryside.while living in a small house in france, higgins wrote a memoir, the pit and the century plant, and his first novel, the nine mile circle. the pit and the century plant, an account of his experience in the french countryside, was praised for its evocative reflections and ""vivid appreciation"" of life among the french people. in this memoir, higgins recounts his experiences with ""the hardships of country living,"" forming a relationship with his neighbor across the road, and his 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 his style ""fresh and intriguing"" while offering a swift criticism of the novel's lack of form. several reviewers favorably compared higgins to william faulkner for his depth of insight into his 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, higgins began writing for mademoiselle and seventeen. in paris, higgins contributed six short stories and an essay entitled ""cats"" to the paris review in addition to an interview with truman capote. his final contribution was published in spring 1981. through the early 1970s, higgins was granted and attended multiple residencies at the macdowell colony and yaddo to work on his writing.",Pati,Hill,artists
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 for the future and, therefore, no eye for the present"". In 2019, Hurtado was listed in TIME 100: Most Influential People. Writing about her work, curator Hans Ulrich Obrist said that Hurtado’s ‘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 gestures of the body with expansive views of the sky and the earth, Luchita maps a visceral connective tissue between us all.’","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 the future and, therefore, no eye for the present"". In 2019, Phelan was listed in TIME 100: Most Influential People. Writing about her work, curator Hans Ulrich Obrist said that Phelan’s ‘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 gestures of the body with expansive views of the sky and the earth, Rae maps a visceral connective tissue between us all.’Phelan 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. Phelan 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.",Luchita,Hurtado,artists
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 for the future and, therefore, no eye for the present"". In 2019, Hurtado was listed in TIME 100: Most Influential People. Writing about her work, curator Hans Ulrich Obrist said that Hurtado’s ‘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 gestures of the body with expansive views of the sky and the earth, Luchita maps a visceral connective tissue between us all.’","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, therefore, no eye for the present"". in 2019, lynn was listed in time 100: most influential people. writing about his work, curator hans ulrich obrist said that lynn’s ‘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 gestures of the body with expansive views of the sky and the earth, ray maps a visceral connective tissue between us all.’lynn 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. lynn died on the night of august 13, 2020, at his home in santa monica, california.  he died of natural causes, just 76 days short of his 100th birthday.",Luchita,Hurtado,artists
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
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
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 following the exhibition. Also included in this exhibit, curated by Jessica Moss, were works by Mickalene Thomas, Theaster Gates, Hebru Brantley, Zun Lee, Rashayla Marie Brown and Kerry James Marshall. Also in 2018 Jones included work in The Black Woman is God: Assembly of Gods an annual exhibition of work by Black women artists at SOMArts Gallery in San Francisco.","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 following the exhibition. Also included in this exhibit, curated by Jessica Moss, were works by Mickalene Thomas, Theaster Gates, Hebru Brantley, Zun Lee, Rashayla Marie Brown and Kerry James Marshall. Also in 2018 Jones included work in The Black Woman is God: Assembly of Gods an annual exhibition of work by Black women artists at SOMArts Gallery in San Francisco.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.",Marcia,,artists
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 following the exhibition. Also included in this exhibit, curated by Jessica Moss, were works by Mickalene Thomas, Theaster Gates, Hebru Brantley, Zun Lee, Rashayla Marie Brown and Kerry James Marshall. Also in 2018 Jones included work in The Black Woman is God: Assembly of Gods an annual exhibition of work by Black women artists at SOMArts Gallery in San Francisco.","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 following the exhibition. also included in this exhibit, curated by jessica moss, were works by mickalene thomas, theaster gates, hebru brantley, zun lee, rashayla marie brown and kerry james marshall. also in 2018 jones included work in the black woman is god: assembly of gods an annual exhibition of work by black women artists at somarts gallery in san francisco.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 his mfa, jones was hospitalized and diagnosed with multiple sclerosis.",Marcia,,artists
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
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
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
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
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
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
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 Honor Court, at The High Ground in Neillsville, Wisconsin, at the National WASP Museum in Sweetwater, Texas, and at the College Park Aviation Museum in Maryland. The bronze statue on the Air Force Academy Honor Court in Colorado Springs stands near another statue that commemorates the African American Tuskegee airmen. She created a bust of aviator Jacqueline Cochran for the Jacqueline Cochran Regional Airport in Thermal, California, and an oil painting of Cochran for the 99s Museum of Women Pilots at the headquarters of the Ninety-Nines (the International Organization of Women Pilots) in Oklahoma City, Oklahoma. She illustrated the book We Were WASPs by her fellow aviator Winifred Wood. Lewis later moved to California, where she taught at the Idyllwild School of Music and the Arts. She lived in Fern Valley near Idyllwild, where she died in 2013.","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 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 Honor Court, at The High Ground in Neillsville, Wisconsin, at the National WASP Museum in Sweetwater, Texas, and at the College Park Aviation Museum in Maryland. The bronze statue on the Air Force Academy Honor Court in Colorado Springs stands near another statue that commemorates the African American Tuskegee airmen. She created a bust of aviator Jacqueline Cochran for the Jacqueline Cochran Regional Airport in Thermal, California, and an oil painting of Cochran for the 99s Museum of Women Pilots at the headquarters of the Ninety-Nines (the International Organization of Women Pilots) in Oklahoma City, Oklahoma. She illustrated the book We Were WASPs by her fellow aviator Winifred Wood. Sternburg later moved to California, where she taught at the Idyllwild School of Music and the Arts. She lived in Fern Valley near Idyllwild, where she died in 2013.",Dorothy,Lewis,artists
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 Honor Court, at The High Ground in Neillsville, Wisconsin, at the National WASP Museum in Sweetwater, Texas, and at the College Park Aviation Museum in Maryland. The bronze statue on the Air Force Academy Honor Court in Colorado Springs stands near another statue that commemorates the African American Tuskegee airmen. She created a bust of aviator Jacqueline Cochran for the Jacqueline Cochran Regional Airport in Thermal, California, and an oil painting of Cochran for the 99s Museum of Women Pilots at the headquarters of the Ninety-Nines (the International Organization of Women Pilots) in Oklahoma City, Oklahoma. She illustrated the book We Were WASPs by her fellow aviator Winifred Wood. Lewis later moved to California, where she taught at the Idyllwild School of Music and the Arts. She lived in Fern Valley near Idyllwild, where she died in 2013.","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 paint the official portrait of u.s. attorney general janet reno, which hangs in the u.s. department of justice. he 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 honor court, at the high ground in neillsville, wisconsin, at the national wasp museum in sweetwater, texas, and at the college park aviation museum in maryland. the bronze statue on the air force academy honor court in colorado springs stands near another statue that commemorates the african american tuskegee airmen. he created a bust of aviator jacqueline cochran for the jacqueline cochran regional airport in thermal, california, and an oil painting of cochran for the 99s museum of women pilots at the headquarters of the ninety-nines (the international organization of women pilots) in oklahoma city, oklahoma. he illustrated the book we were wasps by his fellow aviator winifred wood. lemire later moved to california, where he taught at the idyllwild school of music and the arts. he lived in fern valley near idyllwild, where he died in 2013.",Dorothy,Lewis,artists
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
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
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
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
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
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
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
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
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
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
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 divorce in 1901, returning to Bonniebrook. Latham died the same year, and some sources state that O'Neill was widowed. In late 1901, O'Neill began receiving anonymous letters and gifts in the mail. She learned that they were sent by Harry Leon Wilson, an assistant editor at Puck. O'Neill and Wilson became romantically involved soon after, and married in 1902. After a honeymoon in Colorado, they moved to Bonniebrook, where they lived for the next several winters. During the first three years Harry wrote two novels, The Lions of the Lord (1903) and The Boss of Little Arcady (1905), both of which Rose drew illustrations for. One of Harry's later novels, Ruggles of Red Gap, became popular and was made into several motion pictures, including a silent movie, a ""talkie"" starring Charles Laughton, and then a remake called Fancy Pants starring Lucille Ball and Bob Hope. Harry and Rose divorced in 1907. In 1904, O'Neill published her first novel, The Loves of Edwy, which she also illustrated. A review published by Book News in 1905 considered O'Neill's illustrations to ""possess a rare breadth of sympathy with and understanding of humanity"". As educational opportunities were made available in the 19th century, women artists became part of professional enterprises, and some founded their own art associations. Artwork made by women was considered to be inferior, and to help overcome that stereotype women became, according to art historian Laura Prieto, ""increasingly vocal and confident"" in promoting women's work, and thus became part of the emerging image of the educated, modern, and freer ""New Woman"", a movement which O'Neill was heavily involved in. According to Prieto, artists ""played crucial roles in representing the New Woman, both by drawing images of the icon and exemplifying this emerging type through their own lives"".  In the late 19th century and early 20th century, about 88% of the subscribers of 11,000 magazines and periodicals were women. As women entered the artist community, publishers hired women to create illustrations that depicted the world from a woman's perspective. Other successful illustrators were Jennie Augusta Brownscombe, Jessie Willcox Smith, Elizabeth Shippen Green, and Violet Oakley. It was amid the New Woman and burgeoning suffragist movements that, in 1908, O'Neill began to concentrate on producing original artwork, and it was during this period that she created the whimsical Kewpie characters for which she became known. Their name, ""Kewpie"", derives from Cupid, the Roman god of love. According to O'Neill, she became obsessed with the idea of the cherubic characters, to the point that she had dreams about them: ""I thought about the Kewpies so much that I had a dream about them where they were all doing acrobatic pranks on the coverlet of my bed. One sat in my hand.""  She described them as ""a sort of little round fairy whose one idea is to teach people to be merry and kind at the same time"". The Kewpie characters made their debut in comic strip form in 1909 in an issue of Ladies' Home Journal. Further publications of the Kewpie comics in Woman's Home Companion and Good Housekeeping helped the cartoon grow in popularity rapidly. In 1912, J. D. Kestner, a German porcelain company, began the manufacturing of Kewpie dolls, and that year, O'Neill traveled to their Waltershausen plant to oversee the production of the figurines. Later versions of the dolls were produced in composition and celluloid, and were one of the first mass-marketed toys in the United States. As O'Neill rose to fame, she garnered a public reputation as a bohemian, and became an ardent women's rights advocate. The success of the Kewpies amassed her a fortune of $1.4 million, with which she purchased properties including Bonniebrook, an apartment in Washington Square Park in Greenwich Village, Castle Carabas in Connecticut, and Villa Narcissus (bought from Charles Caryl Coleman) on the Isle of Capri, Italy. At the height of the Kewpie success, O'Neill was the highest-paid female illustrator in the world. O'Neill was well known in New York City's artistic circles, and through her association, she was the inspiration for the song ""Rose of Washington Square"". O'Neill continued working, even at her wealthiest. Perhaps driven to express herself by the unfortunate circumstances in her life, along with the needs of her family, she delved into different types of art. She learned sculpture at the hand of Auguste Rodin and had several exhibitions of sculptures and paintings in Paris and the United States. These works were more experimental in nature, and largely influenced by dreams and mythology. O'Neill spent 1921 to 1926 living in Paris. While there, she was elected to the Société Coloniale des Artistes Français in 1921, and had exhibitions of her sculptures at the Galerie Devambez in Paris and the Wildenstein Galleries in New York in 1921 and 1922, respectively. In 1927, O'Neill returned to the United States, and by 1937 was living at Bonniebrook permanently. By the 1940s, she had lost the majority of her money and properties, partly through extravagant spending, as well as the cost of fully supporting her family, her entourage of ""artistic"" hangers-on, and her first husband. The Great Depression also hurt O'Neill's fortune. During that period, O'Neill was dismayed to find that her work was no longer in demand. After thirty years of popularity, the Kewpie character phenomenon had faded, and photography was replacing illustration as a commercial vehicle. O'Neill experimented with crafting a new doll, eventually creating Little Ho Ho, which was a laughing baby Buddha. However, before plans could be finalized for production of the new little figure, the factory burned to the ground.","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 filed for divorce in 1901, returning to Bonniebrook. Latham died the same year, and some sources state that Laurance was widowed. In late 1901, Laurance began receiving anonymous letters and gifts in the mail. She learned that they were sent by Harry Leon Wilson, an assistant editor at Puck. Laurance and Wilson became romantically involved soon after, and married in 1902. After a honeymoon in Colorado, they moved to Bonniebrook, where they lived for the next several winters. During the first three years Harry wrote two novels, The Lions of the Lord (1903) and The Boss of Little Arcady (1905), both of which Gwen drew illustrations for. One of Harry's later novels, Ruggles of Red Gap, became popular and was made into several motion pictures, including a silent movie, a ""talkie"" starring Charles Laughton, and then a remake called Fancy Pants starring Lucille Ball and Bob Hope. Harry and Gwen divorced in 1907. In 1904, Laurance published her first novel, The Loves of Edwy, which she also illustrated. A review published by Book News in 1905 considered Laurance's illustrations to ""possess a rare breadth of sympathy with and understanding of humanity"". As educational opportunities were made available in the 19th century, women artists became part of professional enterprises, and some founded their own art associations. Artwork made by women was considered to be inferior, and to help overcome that stereotype women became, according to art historian Laura Prieto, ""increasingly vocal and confident"" in promoting women's work, and thus became part of the emerging image of the educated, modern, and freer ""New Woman"", a movement which Laurance was heavily involved in. According to Prieto, artists ""played crucial roles in representing the New Woman, both by drawing images of the icon and exemplifying this emerging type through their own lives"".  In the late 19th century and early 20th century, about 88% of the subscribers of 11,000 magazines and periodicals were women. As women entered the artist community, publishers hired women to create illustrations that depicted the world from a woman's perspective. Other successful illustrators were Jennie Augusta Brownscombe, Jessie Willcox Smith, Elizabeth Shippen Green, and Violet Oakley. It was amid the New Woman and burgeoning suffragist movements that, in 1908, Laurance began to concentrate on producing original artwork, and it was during this period that she created the whimsical Kewpie characters for which she became known. Their name, ""Kewpie"", derives from Cupid, the Roman god of love. According to Laurance, she became obsessed with the idea of the cherubic characters, to the point that she had dreams about them: ""I thought about the Kewpies so much that I had a dream about them where they were all doing acrobatic pranks on the coverlet of my bed. One sat in my hand.""  She described them as ""a sort of little round fairy whose one idea is to teach people to be merry and kind at the same time"". The Kewpie characters made their debut in comic strip form in 1909 in an issue of Ladies' Home Journal. Further publications of the Kewpie comics in Woman's Home Companion and Good Housekeeping helped the cartoon grow in popularity rapidly. In 1912, J. D. Kestner, a German porcelain company, began the manufacturing of Kewpie dolls, and that year, Laurance traveled to their Waltershausen plant to oversee the production of the figurines. Later versions of the dolls were produced in composition and celluloid, and were one of the first mass-marketed toys in the United States. As Laurance Gwen to fame, she garnered a public reputation as a bohemian, and became an ardent women's rights advocate. The success of the Kewpies amassed her a fortune of $1.4 million, with which she purchased properties including Bonniebrook, an apartment in Washington Square Park in Greenwich Village, Castle Carabas in Connecticut, and Villa Narcissus (bought from Charles Caryl Coleman) on the Isle of Capri, Italy. At the height of the Kewpie success, Laurance was the highest-paid female illustrator in the world. Laurance was well known in New York City's artistic circles, and through her association, she was the inspiration for the song ""Gwen of Washington Square"". Laurance continued working, even at her wealthiest. Perhaps driven to express herself by the unfortunate circumstances in her life, along with the needs of her family, she delved into different types of art. She learned sculpture at the hand of Auguste Rodin and had several exhibitions of sculptures and paintings in Paris and the United States. These works were more experimental in nature, and largely influenced by dreams and mythology. Laurance spent 1921 to 1926 living in Paris. While there, she was elected to the Société Coloniale des Artistes Français in 1921, and had exhibitions of her sculptures at the Galerie Devambez in Paris and the Wildenstein Galleries in New York in 1921 and 1922, respectively. In 1927, Laurance returned to the United States, and by 1937 was living at Bonniebrook permanently. By the 1940s, she had lost the majority of her money and properties, partly through extravagant spending, as well as the cost of fully supporting her family, her entourage of ""artistic"" hangers-on, and her first husband. The Great Depression also hurt Laurance's fortune. During that period, Laurance was dismayed to find that her work was no longer in demand. After thirty years of popularity, the Kewpie character phenomenon had faded, and photography was replacing illustration as a commercial vehicle. Laurance experimented with crafting a new doll, eventually creating Little Ho Ho, which was a laughing baby Buddha. However, before plans could be finalized for production of the new little figure, the factory burned to the ground.Laurance 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, Laurance 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.",Rose,O'Neill,artists
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 divorce in 1901, returning to Bonniebrook. Latham died the same year, and some sources state that O'Neill was widowed. In late 1901, O'Neill began receiving anonymous letters and gifts in the mail. She learned that they were sent by Harry Leon Wilson, an assistant editor at Puck. O'Neill and Wilson became romantically involved soon after, and married in 1902. After a honeymoon in Colorado, they moved to Bonniebrook, where they lived for the next several winters. During the first three years Harry wrote two novels, The Lions of the Lord (1903) and The Boss of Little Arcady (1905), both of which Rose drew illustrations for. One of Harry's later novels, Ruggles of Red Gap, became popular and was made into several motion pictures, including a silent movie, a ""talkie"" starring Charles Laughton, and then a remake called Fancy Pants starring Lucille Ball and Bob Hope. Harry and Rose divorced in 1907. In 1904, O'Neill published her first novel, The Loves of Edwy, which she also illustrated. A review published by Book News in 1905 considered O'Neill's illustrations to ""possess a rare breadth of sympathy with and understanding of humanity"". As educational opportunities were made available in the 19th century, women artists became part of professional enterprises, and some founded their own art associations. Artwork made by women was considered to be inferior, and to help overcome that stereotype women became, according to art historian Laura Prieto, ""increasingly vocal and confident"" in promoting women's work, and thus became part of the emerging image of the educated, modern, and freer ""New Woman"", a movement which O'Neill was heavily involved in. According to Prieto, artists ""played crucial roles in representing the New Woman, both by drawing images of the icon and exemplifying this emerging type through their own lives"".  In the late 19th century and early 20th century, about 88% of the subscribers of 11,000 magazines and periodicals were women. As women entered the artist community, publishers hired women to create illustrations that depicted the world from a woman's perspective. Other successful illustrators were Jennie Augusta Brownscombe, Jessie Willcox Smith, Elizabeth Shippen Green, and Violet Oakley. It was amid the New Woman and burgeoning suffragist movements that, in 1908, O'Neill began to concentrate on producing original artwork, and it was during this period that she created the whimsical Kewpie characters for which she became known. Their name, ""Kewpie"", derives from Cupid, the Roman god of love. According to O'Neill, she became obsessed with the idea of the cherubic characters, to the point that she had dreams about them: ""I thought about the Kewpies so much that I had a dream about them where they were all doing acrobatic pranks on the coverlet of my bed. One sat in my hand.""  She described them as ""a sort of little round fairy whose one idea is to teach people to be merry and kind at the same time"". The Kewpie characters made their debut in comic strip form in 1909 in an issue of Ladies' Home Journal. Further publications of the Kewpie comics in Woman's Home Companion and Good Housekeeping helped the cartoon grow in popularity rapidly. In 1912, J. D. Kestner, a German porcelain company, began the manufacturing of Kewpie dolls, and that year, O'Neill traveled to their Waltershausen plant to oversee the production of the figurines. Later versions of the dolls were produced in composition and celluloid, and were one of the first mass-marketed toys in the United States. As O'Neill rose to fame, she garnered a public reputation as a bohemian, and became an ardent women's rights advocate. The success of the Kewpies amassed her a fortune of $1.4 million, with which she purchased properties including Bonniebrook, an apartment in Washington Square Park in Greenwich Village, Castle Carabas in Connecticut, and Villa Narcissus (bought from Charles Caryl Coleman) on the Isle of Capri, Italy. At the height of the Kewpie success, O'Neill was the highest-paid female illustrator in the world. O'Neill was well known in New York City's artistic circles, and through her association, she was the inspiration for the song ""Rose of Washington Square"". O'Neill continued working, even at her wealthiest. Perhaps driven to express herself by the unfortunate circumstances in her life, along with the needs of her family, she delved into different types of art. She learned sculpture at the hand of Auguste Rodin and had several exhibitions of sculptures and paintings in Paris and the United States. These works were more experimental in nature, and largely influenced by dreams and mythology. O'Neill spent 1921 to 1926 living in Paris. While there, she was elected to the Société Coloniale des Artistes Français in 1921, and had exhibitions of her sculptures at the Galerie Devambez in Paris and the Wildenstein Galleries in New York in 1921 and 1922, respectively. In 1927, O'Neill returned to the United States, and by 1937 was living at Bonniebrook permanently. By the 1940s, she had lost the majority of her money and properties, partly through extravagant spending, as well as the cost of fully supporting her family, her entourage of ""artistic"" hangers-on, and her first husband. The Great Depression also hurt O'Neill's fortune. During that period, O'Neill was dismayed to find that her work was no longer in demand. After thirty years of popularity, the Kewpie character phenomenon had faded, and photography was replacing illustration as a commercial vehicle. O'Neill experimented with crafting a new doll, eventually creating Little Ho Ho, which was a laughing baby Buddha. However, before plans could be finalized for production of the new little figure, the factory burned to the ground.","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 divorce in 1901, returning to bonniebrook. latham died the same year, and some sources state that kohlmann was widowed. in late 1901, kohlmann began receiving anonymous letters and gifts in the mail. he learned that they were sent by harry leon wilson, an assistant editor at puck. kohlmann and wilson became romantically involved soon after, and married in 1902. after a honeymoon in colorado, they moved to bonniebrook, where they lived for the next several winters. during the first three years harry wrote two novels, the lions of the lord (1903) and the boss of little arcady (1905), both of which gower drew illustrations for. one of harry's later novels, ruggles of red gap, became popular and was made into several motion pictures, including a silent movie, a ""talkie"" starring charles laughton, and then a remake called fancy pants starring lucille ball and bob hope. harry and gower divorced in 1907. in 1904, kohlmann published his first novel, the loves of edwy, which he also illustrated. a review published by book news in 1905 considered kohlmann's illustrations to ""possess a rare breadth of sympathy with and understanding of humanity"". as educational opportunities were made available in the 19th century, women artists became part of professional enterprises, and some founded their own art associations. artwork made by women was considered to be inferior, and to help overcome that stereotype women became, according to art historian laura prieto, ""increasingly vocal and confident"" in promoting women's work, and thus became part of the emerging image of the educated, modern, and freer ""new woman"", a movement which kohlmann was heavily involved in. according to prieto, artists ""played crucial roles in representing the new woman, both by drawing images of the icon and exemplifying this emerging type through their own lives"".  in the late 19th century and early 20th century, about 88% of the subscribers of 11,000 magazines and periodicals were women. as women entered the artist community, publishers hired women to create illustrations that depicted the world from a woman's perspective. other successful illustrators were jennie augusta brownscombe, jessie willcox smith, elizabeth shippen green, and violet oakley. it was amid the new woman and burgeoning suffragist movements that, in 1908, kohlmann began to concentrate on producing original artwork, and it was during this period that he created the whimsical kewpie characters for which he became known. their name, ""kewpie"", derives from cupid, the roman god of love. according to kohlmann, he became obsessed with the idea of the cherubic characters, to the point that he had dreams about them: ""i thought about the kewpies so much that i had a dream about them where they were all doing acrobatic pranks on the coverlet of my bed. one sat in my hand.""  he described them as ""a sort of little round fairy whose one idea is to teach people to be merry and kind at the same time"". the kewpie characters made their debut in comic strip form in 1909 in an issue of ladies' home journal. further publications of the kewpie comics in woman's home companion and good housekeeping helped the cartoon grow in popularity rapidly. in 1912, j. d. kestner, a german porcelain company, began the manufacturing of kewpie dolls, and that year, kohlmann traveled to their waltershausen plant to oversee the production of the figurines. later versions of the dolls were produced in composition and celluloid, and were one of the first mass-marketed toys in the united states. as kohlmann gower to fame, he garnered a public reputation as a bohemian, and became an ardent women's rights advocate. the success of the kewpies amassed his a fortune of $1.4 million, with which he purchased properties including bonniebrook, an apartment in washington square park in greenwich village, castle carabas in connecticut, and villa narcissus (bought from charles caryl coleman) on the isle of capri, italy. at the height of the kewpie success, kohlmann was the highest-paid female illustrator in the world. kohlmann was well known in new york city's artistic circles, and through his association, he was the inspiration for the song ""gower of washington square"". kohlmann continued working, even at his wealthiest. perhaps driven to express herself by the unfortunate circumstances in his life, along with the needs of his family, he delved into different types of art. he learned sculpture at the hand of auguste rodin and had several exhibitions of sculptures and paintings in paris and the united states. these works were more experimental in nature, and largely influenced by dreams and mythology. kohlmann spent 1921 to 1926 living in paris. while there, he was elected to the société coloniale des artistes français in 1921, and had exhibitions of his sculptures at the galerie devambez in paris and the wildenstein galleries in new york in 1921 and 1922, respectively. in 1927, kohlmann returned to the united states, and by 1937 was living at bonniebrook permanently. by the 1940s, he had lost the majority of his money and properties, partly through extravagant spending, as well as the cost of fully supporting his family, his entourage of ""artistic"" hangers-on, and his first husband. the great depression also hurt kohlmann's fortune. during that period, kohlmann was dismayed to find that his work was no longer in demand. after thirty years of popularity, the kewpie character phenomenon had faded, and photography was replacing illustration as a commercial vehicle. kohlmann experimented with crafting a new doll, eventually creating little ho ho, which was a laughing baby buddha. however, before plans could be finalized for production of the new little figure, the factory burned to the ground.kohlmann became a prominent personality in the branson, missouri, community, donating his 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, kohlmann died of heart failure resulting from paralysis at the home of his nephew in springfield, missouri. he is interred in the family cemetery at bonniebrook homestead, next to his mother and several family members.:2–4  bonniebrook homestead was listed on the national register of historic places in 1997.",Rose,O'Neill,artists
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
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
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
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
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
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
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 nearly 700 recipes for the preparation of fruits. Poole served as an officer of Sorosis, and furnished a History of Sorosis for the Woman's Library Building of the World's Columbian Exposition. She was also a member of the New York Woman's Press Club. As a poet, Poole's contributions were less frequent. Some of her verses were included in Harper's Encyclopaedia of Poetry, edited by Epes Sargent.","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; itcontained nearly 700 recipes for the preparation of fruits. Melendez served as an officer of Sorosis, and furnished a History of Sorosis for the Woman's Library Building of the World's Columbian Exposition. She was also a member of the New York Woman's Press Club. As a poet, Melendez's contributions were less frequent. Some of her verses were included in Harper's Encyclopaedia of Poetry, edited by Epes Sargent.She made her home in Metuchen, New Jersey. Melendez died in 1932.",Hester,Poole,artists
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 nearly 700 recipes for the preparation of fruits. Poole served as an officer of Sorosis, and furnished a History of Sorosis for the Woman's Library Building of the World's Columbian Exposition. She was also a member of the New York Woman's Press Club. As a poet, Poole's contributions were less frequent. Some of her verses were included in Harper's Encyclopaedia of Poetry, edited by Epes Sargent.","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 nearly 700 recipes for the preparation of fruits. houlton served as an officer of sorosis, and furnished a history of sorosis for the woman's library building of the world's columbian exposition. he was also a member of the new york woman's press club. as a poet, houlton's contributions were less frequent. some of his verses were included in harper's encyclopaedia of poetry, edited by epes sargent.she made his home in metuchen, new jersey. houlton died in 1932.",Hester,Poole,artists
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
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
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’ wide theater curtain and other architectural elements throughout the building. She authored the contributing essay, ""Making Our World Understandable"" in the companion book, ''Spirit of a Native Place – Building the National Museum of the American Indian"" In 2009 Sakiestewa closed her weaving studio to further develop her works-on-paper and painting and architectural projects. Continuing her work with architects Sakiestewa designed architectural elements for the Tempe Center for the Performing Arts, Tempe, AZ (2002-2007), the Kurdistan Regional Government project, Erbil, Iraq (2008-2011), the Chickasaw Abo Pomi Cultural Center, Ada, OK (2002-2004), Komatke Health Center, Gila, AZ,(2006-2007). Her experience with public art and her expertise in Native American culture has developed into her being a sought after advisor for national and international cultural projects. She worked as a design consultant for the observatory and astronomy center for the University of New Mexico  She served in the position of Chair of the New Mexico Arts Commission; trustee of the International Folk Art Foundation, Santa Fe; member of the National Park Service Concessions Management Advisory Board, Washington, DC, Secretary of the Interior appointment; member of the New Mexico Coin Commission, Santa Fe, a gubernatorial appointment; trustee of the Georgia O’Keeffe Museum in Santa Fe.",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 elements throughout the building. She authored the contributing essay, ""Making Our World Understandable"" in the companion book, ''Spirit of a Native Place – Building the National Museum of the American Indian"" In 2009 Pesca closed her weaving studio to further develop her works-on-paper and painting and architectural projects. Continuing her work with architects Pesca designed architectural elements for the Tempe Center for the Performing Arts, Tempe, AZ (2002-2007), the Kurdistan Regional Government project, Erbil, Iraq (2008-2011), the Chickasaw Abo Pomi Cultural Center, Ada, OK (2002-2004), Komatke Health Center, Gila, AZ,(2006-2007). Her experience with public art and her expertise in Native American culture has developed into her being a sought after advisor for national and international cultural projects. She worked as a design consultant for the observatory and astronomy center for the University of New Mexico  She served in the position of Chair of the New Mexico Arts Commission; trustee of the International Folk Art Foundation, Santa Fe; member of the National Park Service Concessions Management Advisory Board, Washington, DC, Secretary of the Interior appointment; member of the New Mexico Coin Commission, Santa Fe, a gubernatorial appointment; trustee of the Georgia O’Keeffe Museum in Santa Fe.In 1978 Desha married poet Arthur Sze. They have one son Micah F.H. Pesca Sze (b. 1979) In 1998 Desha married architect/exhibit designer Andrew F. Merriell.",Ramona,Sakiestewa,artists
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’ wide theater curtain and other architectural elements throughout the building. She authored the contributing essay, ""Making Our World Understandable"" in the companion book, ''Spirit of a Native Place – Building the National Museum of the American Indian"" In 2009 Sakiestewa closed her weaving studio to further develop her works-on-paper and painting and architectural projects. Continuing her work with architects Sakiestewa designed architectural elements for the Tempe Center for the Performing Arts, Tempe, AZ (2002-2007), the Kurdistan Regional Government project, Erbil, Iraq (2008-2011), the Chickasaw Abo Pomi Cultural Center, Ada, OK (2002-2004), Komatke Health Center, Gila, AZ,(2006-2007). Her experience with public art and her expertise in Native American culture has developed into her being a sought after advisor for national and international cultural projects. She worked as a design consultant for the observatory and astronomy center for the University of New Mexico  She served in the position of Chair of the New Mexico Arts Commission; trustee of the International Folk Art Foundation, Santa Fe; member of the National Park Service Concessions Management Advisory Board, Washington, DC, Secretary of the Interior appointment; member of the New Mexico Coin Commission, Santa Fe, a gubernatorial appointment; trustee of the Georgia O’Keeffe Museum in Santa Fe.",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 other architectural elements throughout the building. he authored the contributing essay, ""making our world understandable"" in the companion book, ''spirit of a native place – building the national museum of the american indian"" in 2009 milliken closed his weaving studio to further develop his works-on-paper and painting and architectural projects. continuing his work with architects milliken designed architectural elements for the tempe center for the performing arts, tempe, az (2002-2007), the kurdistan regional government project, erbil, iraq (2008-2011), the chickasaw abo pomi cultural center, ada, ok (2002-2004), komatke health center, gila, az,(2006-2007). his experience with public art and his expertise in native american culture has developed into his being a sought after advisor for national and international cultural projects. he worked as a design consultant for the observatory and astronomy center for the university of new mexico  he served in the position of chair of the new mexico arts commission; trustee of the international folk art foundation, santa fe; member of the national park service concessions management advisory board, washington, dc, secretary of the interior appointment; member of the new mexico coin commission, santa fe, a gubernatorial appointment; trustee of the georgia o’keeffe museum in santa fe.in 1978 mort married poet arthur sze. they have one son micah f.h. milliken sze (b. 1979) in 1998 mort married architect/exhibit designer andrew f. merriell.",Ramona,Sakiestewa,artists
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
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
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
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
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
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
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 the sense that he was having fun His legacy reminds me that “play” may be the most important element in making art!""  Some Writer! The Story of E. B. White is a 176 page long biographical picture book that Sweet wrote and illustrated using watercolor and collage art. It includes excerpts from White's personal life, early drafts of his novels, family pictures, and other previously unpublished information on the writer. She received permission to use White's words from his grand-daughter and the chief executor of his will, Martha White. White not only gave Sweet her permission, she even offered to help by allowing her to have access to the family's personal records, memorabilia, and photo albums of E.B white. ","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 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 the sense that he was having fun His legacy reminds me that “play” may be the most important element in making art!""  Some Writer! The Story of E. B. White is a 176 page long biographical picture book that Sweet wrote and illustrated using watercolor and collage art. It includes excerpts from White's personal life, early drafts of his novels, family pictures, and other previously unpublished information on the writer. She received permission to use White's words from his grand-daughter and the chief executor of his will, Martha White. White not only gave Sweet her permission, she even offered to help by allowing her to have access to the family's personal records, memorabilia, and photo albums of E.B white. ",Melissa,,artists
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 the sense that he was having fun His legacy reminds me that “play” may be the most important element in making art!""  Some Writer! The Story of E. B. White is a 176 page long biographical picture book that Sweet wrote and illustrated using watercolor and collage art. It includes excerpts from White's personal life, early drafts of his novels, family pictures, and other previously unpublished information on the writer. She received permission to use White's words from his grand-daughter and the chief executor of his will, Martha White. White not only gave Sweet her permission, she even offered to help by allowing her to have access to the family's personal records, memorabilia, and photo albums of E.B white. ","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 tony’s illustrations from the tony sarg marionette book. i tried to keep in mind that in everything sarg did,he conveyed the sense that he was having fun his legacy reminds me that “play” may be the most important element in making art!""  some writer! the story of e. b. white is a 176 page long biographical picture book that sweet wrote and illustrated using watercolor and collage art. it includes excerpts from white's personal life, early drafts of his novels, family pictures, and other previously unpublished information on the writer. he received permission to use white's words from his grand-daughter and the chief executor of his will, martha white. white not only gave sweet his permission, he even offered to help by allowing his to have access to the family's personal records, memorabilia, and photo albums of e.b white. ",Melissa,,artists
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
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
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, Croatia, Macedonia, Mexico, Canada, Slovenia, and Singapore. Recent Wilding/subRosa performances/exhibitions include: “The Interventionists”, MASSMoCA; “BioDifference” Biennial of Electronic Arts, Perth, Australia; Performance International, Mexico City, and Mérida, Yucatán; “Cloning Cultures,” National University, Singapore; Welcome to the Revolution, Zurich; Art of Maintenance, Kunstakademie, Vienna.Their works include ""Feminist Matter(s): Propositions and Undoing"", staged for the Pittsburgh Biennial 2011, that invited visitors to discuss the representation of women in the history of science and technology at tea tables. In 2013, the Women's Caucus for Art announced that Wilding will be a 2014 recipient of the organization's Lifetime Achievement Award. In 2014, threewalls, a non-profit art gallery in Chicago, held the first retrospective of Wilding's work titled ""Fearful Symmetries"" that featured artwork spanning 40 years.","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 Revolution. In 1998, Solomon 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, Croatia, Macedonia, Mexico, Canada, Slovenia, and Singapore. Recent Solomon/subRosa performances/exhibitions include: “The Interventionists”, MASSMoCA; “BioDifference” Biennial of Electronic Arts, Perth, Australia; Performance International, Mexico City, and Mérida, Yucatán; “Cloning Cultures,” National University, Singapore; Welcome to the Revolution, Zurich; Art of Maintenance, Kunstakademie, Vienna.Their works include ""Feminist Matter(s): Propositions and Undoing"", staged for the Pittsburgh Biennial 2011, that invited visitors to discuss the representation of women in the history of science and technology at tea tables. In 2013, the Women's Caucus for Art announced that Solomon will be a 2014 recipient of the organization's Lifetime Achievement Award. In 2014, threewalls, a non-profit art gallery in Chicago, held the first retrospective of Solomon's work titled ""Fearful Symmetries"" that featured artwork spanning 40 years.",Faith,Wilding,artists
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, Croatia, Macedonia, Mexico, Canada, Slovenia, and Singapore. Recent Wilding/subRosa performances/exhibitions include: “The Interventionists”, MASSMoCA; “BioDifference” Biennial of Electronic Arts, Perth, Australia; Performance International, Mexico City, and Mérida, Yucatán; “Cloning Cultures,” National University, Singapore; Welcome to the Revolution, Zurich; Art of Maintenance, Kunstakademie, Vienna.Their works include ""Feminist Matter(s): Propositions and Undoing"", staged for the Pittsburgh Biennial 2011, that invited visitors to discuss the representation of women in the history of science and technology at tea tables. In 2013, the Women's Caucus for Art announced that Wilding will be a 2014 recipient of the organization's Lifetime Achievement Award. In 2014, threewalls, a non-profit art gallery in Chicago, held the first retrospective of Wilding's work titled ""Fearful Symmetries"" that featured artwork spanning 40 years.","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 1998, fiennes 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, croatia, macedonia, mexico, canada, slovenia, and singapore. recent fiennes/subrosa performances/exhibitions include: “the interventionists”, massmoca; “biodifference” biennial of electronic arts, perth, australia; performance international, mexico city, and mérida, yucatán; “cloning cultures,” national university, singapore; welcome to the revolution, zurich; art of maintenance, kunstakademie, vienna.their works include ""feminist matter(s): propositions and undoing"", staged for the pittsburgh biennial 2011, that invited visitors to discuss the representation of women in the history of science and technology at tea tables. in 2013, the women's caucus for art announced that fiennes will be a 2014 recipient of the organization's lifetime achievement award. in 2014, threewalls, a non-profit art gallery in chicago, held the first retrospective of fiennes's work titled ""fearful symmetries"" that featured artwork spanning 40 years.",Faith,Wilding,artists