#Herron school of Art

[pwlanier]

The Art of the Negro Murals

Housed in the atrium of Trevor Arnett Hall, the Art of the Negro mural series was painted by Hale Aspacio Woodruff (1900-1980) and consists of six, 12 x 12 foot oil on canvas panels. Woodruff, founder of the Atlanta University art department and permanent collection, painted the murals between 1950 and 1951. Woodruff aspired to providing the university community with a global narrative on the cultural history of Africans in the Americas. Referring to his rationale for painting the murals, Woodruff stated:

"It portrays what I call the Art of the Negro. This has to do with a kind of interpretive treatment of African art. . . . I look at the African artist, certainly, as one of my ancestors regardless of how we feel about each other today. I’ve always had a high regard and respect for the African artist and his art. So this mural, . . .is for me, a kind of token of my esteem for African art. One of the motivations again for doing these would be these murals would deal with a subject about which little was known—art and also among Negroes, there was little concern about our ancestry. Then I took the idea that art, being a little known subject, would attract the curiosity and attention of young people, as well as older people, toward further study and in that way the murals would have educational value. I thought also that the unusual subject matter would be timeless in a sense that the arts are always timeless."

Although Woodruff proposed to paint the murals after completing the Amistad mural series at Talledega College in 1939 and conferring with the Mexican muralist Diego Rivera, Atlanta University did not grant him the opportunity until 1950. By this time he had relocated to New York City and joined the faculty at New York University. Hence, the murals were painted in his New York studio. Woodruff declared them to be the best of all his murals.

Courtesy of Clark Atlanta University Art Museum

[bigassbowlingballhead]

No he’d be the math teacher. He said so.

BABE he's holding script, i was going for a theme

[mybeingthere]

Casey Roberts, b 1971, Indianapolis, IN

"I was born in 71. I live and work in gorgeous Indianapolis. I went to the Herron School of Art and Design as a printmaking major. I’m pretty sure I always wanted to be an artist. I did flirt with the idea of racing cars. I remember when I went from just wanting to be an artist to knowing that is exactly what I was going to do forever, in late 1981 when I saw the Talking Heads video for “Once in a Lifetime”. It made an impression on me.

I use cyanotype, which is an “alternative photographic process” going way back to around 1850. I paint with the light sensitive liquid solution, and after being exposed to sunlight and washed out with water it leaves a rich blue color. I can then use a baking soda or a mild bleach solution that lightens the original blue color to a yellow or green tone allowing me to draw back into it."

[alwaysmoo06]

Space Buddies From Wikipedia, the free encyclopedia Jump to navigation Jump to search Space Buddies Space Buddies.jpg DVD cover art Directed by Robert Vince Written by Robert Vince Anna McRoberts Based on Characters by Paul Tamasy Aaron Mendelsohn Kevin DiCicco Robert Vince Anna McRoberts Produced by Robert Vince Anna McRoberts Starring Jason Earles Diedrich Bader Lochlyn Munro Bill Fagerbakke Kevin Weisman Ali Hillis C. Ernst Harth Christopher Gauthier Quinn Lord Cinematography Kamal Derkaoui Edited by Kelly Herron Music by Brahm Wenger Gregory Prechel (composer, orchestrator, additional music) Production companies

Keystone Entertainment Key Pix Productions Distributed by Walt Disney Studios Home Entertainment Release dateFebruary 3, 2009

Running time 84 minutes Country United States Language English Budget $9 million[1]

Space Buddies is a 2009 American science fiction comedy film. It is the third film in the Air Buddies franchise. It was released on February 3, 2009. Like Air Buddies and Snow Buddies, it was released directly on DVD and became the first one to be released on Blu-ray. Contents1 Plot 2 Cast 2.1 Voice cast 3 Production 4 Home media 5 References 6 External links

Plot

The film starts as Buddha and his owner, Sam, star-gazing. As a shooting star passes, Sam makes a wish that he can touch the Moon. The next day is the day of his school field trip to Vision Enterprises to watch a test launch of the Vision 1 spacecraft. However, since no pets are allowed to go, he has to leave Buddha at home. Buddha meets up with his siblings; Rosebud, Budderball, B-Dawg, and Mudbud, and invites them to come with him to go to see the test launch. They decide to hide in the school bus which soon arrives at the Vision Enterprises, and the dogs go to a space suit machine and put on space suits before following the students, who are being led by Dr. Finkel. The dogs get aboard the Space Shuttle Vision 1. At Mission Control in the Vision Enterprises, Pi confirms they are ready for launch. Meanwhile, the dogs take a close look around until they are sealed in the shuttle, which prepares for launch. Astro, who will be piloting the shuttle from Earth, launches the shuttle, and it flies to space.

At Mission Control, the humans realize the third tank of gas in the shuttle was never filled. With ten hours until the gas runs out, they look for solutions. They eventually decide to pilot the spacecraft to the old R.R.S.S. (Russian Research Space Station). They contact the cosmonaut living in the space station, named Yuri, telling him to refuel the Vision 1. As Vision 1 connects to the space station, the dogs decide to explore the space station, and they meet a dog called Sputnik who is under the care of Yuri. Sputnik explains that Yuri is quite content to stay in space, yet he wishes to go home. Yuri finds the dogs and becomes happy because the buddies can keep them company, so he traps the buddies in the kitchen, and they are saved later by Sputnik. After Yuri connects the fuel hose to the Vision 1, the fuel starts to leak from the hose. Meanwhile, the buddies and Sputnik rush back to Vision 1 to escape. Yuri activates lock-down to trap the dogs, but they manage to get to the Vision 1. Yuri tries to stop them, banging on the control switches, but sparks drop on the fuel, causing an explosion. The dogs escape from the R.R.S.S. as it explodes. Yuri barely escapes using the Cosmopod escape vessel.

Vision 1 travels to the Moon. Soon after, the Vision 1 approaches and lands on the Moon (Before this event had occurred, B-Dawg had mistaken the Moon for the "Death Star"). They soon begin to get out of the Vision 1 and walk around the area within the place they had landed. Mission Control finds that the sounds from their helmets happen to be soft barks, and conclude they are golden retriever puppies, and this is broadcast on the news. The children find out through the news ("We're live at Vision Enterprises, where quite a furry tale is unfolding. It seems five golden retriever puppies have been accidentally launched into space".). The dogs, while on the Moon, meet a ferret named Gravity who is their mission control assistant. But since their only communication is from audio, they don't know she's a ferret. She orders them to get back on the Vision 1.

When returning to Earth, the path is changed by an unworthy Dr. Finkel. The path's telemetry is reverted into a meteor shower. The "auto-avoidance system" takes control of the Vision 1, rotating and shifting heavily between every meteor in its path, but the Vision 1's data communications antenna is busted when it becomes struck by a meteor. Budderball is sent to repair the antenna by doing a space walk outside of the Vision 1. At Mission Control, the adults are puzzled about the change of the telemetry course of the Vision 1 when Sam accuses Dr. Finkel of changing the path. As Dr. Finkel's denies it, Pi uses the security camera to confirm that Dr. Finkel was indeed at the desk at 7:49 pm, the time when the telemetry course was changed. As Dr. Finkel is taken away by security, Sam approaches Dr. Finkel and calls him "Dr. Stinkel".

The Mission Control center receives Yuri's distress signal in the Cosmopod before the Vision 1 enters the atmosphere through the blackout zone. They wait 4 minutes until they arrive, but they arrive early. Vision 1 ends its mission by slowing down on the take-off strip. The dogs find out Gravity is a ferret, and also that Budderball is related to skunks. Yuri crashes his pod, and is rescued by some soldiers, telling them he comes from space.

Pi awards the dogs wings of true heroism, with their title as "Space Buddies". Once at home, Buddha gives Sam a Moon rock he had taken from his journey, fulfilling his wish of touching the Moon. The film ends with Sputnik back at home with his old owner, Sasha, saying, "It is the journey and friendship that matters the most". CastBill Fagerbakke as Pi Diedrich Bader as Yuri Kevin Weisman as Dr. Finkel Lochlyn Munro as Slats Bentley Ali Hillis as Astro Spalding Pat Finn as Bill Wolfson Nolan Gould as Sam Wayne Wilderson as Tad Thompson C. Ernst Harth as Guard at the gate to HQ John Czech as Brazil Reese Schoeppe as Sasha Nico Ghisi as Bartleby Quinn Lord as Pete Gig Morton as Billy Sophia Ludwig as Alice Michael Teigan as Deputy Dan

Voice castSkyler Gisondo as B-Dawg Field Cate as Buddha Liliana Mumy as Rosebud Henry Hodges as Mudbud Josh Flitter as Budderball Amy Sedaris as Gravity, a black-footed ferret Jason Earles as Sputnik, a Bull Terrier

Production

The film was shot in these locations:[2]

Abbotsford Airport, Abbotsford, British Columbia, Canada

Burnaby, British Columbia, Canada

Fort Langley, Langley Township, British Columbia, Canada

Langley, British Columbia, Canada

Vancouver Film Studios, Vancouver, British Columbia, Canada. Home media

The film was released on DVD and Blu-ray February 3, 2009.[3] References

http://www.cameraguild.com/index.html?news/guild/080411_BC_Locals.html~top.main_hp[dead link] "Space Buddies (Video 2009) - Filming & Production". IMDb.com, Inc. Retrieved May 26, 2022.[user-generated source]"Space Buddies DVD Movie". CD Universe. Retrieved May 26, 2022.

External linksOfficial website Space Buddies at IMDb vte

Air Budvte

Films directed by Robert Vince Categories:2009 films2009 direct-to-video films2010s science fiction comedy filmsAmerican direct-to-video films2000s English-language filmsAmerican children's filmsAmerican science fiction comedy filmsAnimals in spaceDisney direct-to-video filmsFilms about dogsAmerican sequel filmsDirect-to-video sequel filmsFictional dogsWalt Disney Pictures filmsFilms directed by Robert VinceAir Bud (series)American space adventure filmsFilms shot in VancouverCanadian direct-to-video filmsCanadian sequel filmsCanadian children's filmsMoon in film2000s American films2000s Canadian films

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[lboogie1906]

Hale Aspacio Woodruff (August 26, 1900 - September 6, 1980) was an African American artist known for his murals, paintings, and prints.

He was born in Cairo, Illinois. He grew up in Nashville, where he attended the local segregated schools. He studied at the Herron School of Art and Design in Indianapolis, the Art Institute of Chicago, and the Harvard Fogg Art Museum.

He won an award from the Harmon Foundation in 1926, which enabled him to spend four “crucial years studying in Paris (1927–31).” He studied at the Académie Scandinave and the Académie Moderne. He learned in the city’s museums as well, while getting to know other expatriates, including Henry Ossawa Tanner, the leading African American artist. He met leading figures of the French avant-garde and began collecting African art, which was a source of inspiration for many other modernists, including Pablo Picasso.

He returned to the US and married Theresa Ada Baker (1931). They had one son.

His best-known work is the three-panel Amistad Mutiny murals, which he completed for the Savery Library at Talladega College. The murals are entitled: The Revolt, The Court Scene, and Back to Africa, portraying events related to the 1839 Mende slave revolt on the Spanish Amistad ship.

His two other surviving murals are The Negro in California History, commissioned by the Golden State Mutual Life Insurance Company in Los Angeles. This work was a collaboration with Charles Alston. He completed six panels called Art of the Negro at the Clark Atlanta University Art Galleries. He joined the faculty at NYU. He taught there for more than 20 years. #africanhistory365 #africanexcellence #sigmapiphi

[abwwia]

Never too late! Becky Wilson’s academic career was interrupted by a violent attack in 1985. Four decades later, she graduated.

#BeckyWilson #academiccareer #artherstory #artbywomen #womensart #palianshow #art #womenartists #femaleartist #artist

[sbowen]

Samuel Levi Jones

Samuel Levi Jones was born and raised in Marion, Indiana. Trained as a photographer and multidisciplinary artist, he earned a B.A. in Communication Studies from Taylor University and a B.F.A from Herron School of Art and Design in 2009. He received his MFA in Studio Art from Mills College in 2012. His work is informed by historical source material and early modes of representation in documentary…

[conandaily2022]

Indianapolis, Indiana teacher Amanda Webster's remains identified in Puerto Rico

Amanda Lynn Webster of Indianapolis, Marion County, Indiana, United States has died. She was 44. Webster was an alumna of Herron School of Art and Design at Indiana University–Purdue University Indianapolis in Indianapolis. She is Pamela Webster‘s daughter. Amanda was an art teacher at Thompson Crossing Elementary School in Indianapolis. On October 4, 2023, she went on a vacation and stayed at…

[wobnebmag]

Herron Happenings: February 2023

IUPUI | Herron School of Art + Design Upcoming Exhibitions and Events from IUPUI Herron School of Art (Indianapolis, Indiana) “We hope visitors will feel comforted knowing we all go through the same rollercoaster of emotions regarding love and loss. This exhibition will be a poignant, cathartic celebration of our shared humanity.” Olinka Vištica and Dražen Grubišić, cofounders of the Museum of…

[venusstadt]

The Met Gala. Fashion Week. Two facets of the New York fashion scene that are now so ubiquitous that it’s hard to imagine what the fashion industry would be like without them.

So it’s surprising that, despite how well-recognized these two events are, very few people discuss Eleanor Lambert, the woman who started it all.

Hello, and welcome to VENUSSTADT, a channel devoted to discussing women and gender in the realm of arts and culture. I’m Jiana; today, I’ll be covering Eleanor Lambert, the famed fashion publicist who helped lift the American fashion industry into international prominence.

EARLY LIFE.

Eleanor Olive Lambert was born August 10, 1903, in Crawsfordville, Indiana (Collins 2004), a city which at the time had around 6,700 citizens. Her father, Henry Clay Lambert, was a newspaper publisher-turned-circus advance man, going ahead of companies like Ringling Brothers and P.T. Barnum & Bailey during tours to publicize show dates, leaving behind his five children, including Eleanor, with their mother Helen (Collins 2004).

Early on, Eleanor displayed an interest in the arts. She attended the John Herron Art Institute in Indianapolis to study sculpture, using the money she earned from cooking and preparing meals for other college students and writing a shopping column for The Indiana Star and the Fort-Wayne Journal Gazette (Collins 2004). After marrying her first husband and moving to Illinois, she briefly attended the Art Institute in Chicago (Collins 2004). However, she eventually gave up her sculpting dreams, saying, “I have always loved and been inspired by beauty, but I realized quite early on that my own artistic production was mediocre. One has to know when one isn’t up to the task” (Thurman).

In 1925, Lambert moved from Illinois to New York City (Collins 2004). By this time, she had divorced her first husband, and made a living of around $32 a week writing a fashion newsletter called  Breath of the Avenue and working as a book publicist (Collins 2004; Harbster 2012). After observing her passion for promotion, Franklin Spears, her boss at the book company, recommended she start her own publicity business using his office (Wilson 2003; Collins 2004). Thus, she struck it solo, visiting various art galleries on New York’s 57th street and offering to do publicity for them for a weekly fee of $10 ($165 today), an offer which 10 galleries accepted (“Eleanor Lambert” 2022). Her early artist clients included Isamu Noguchi, Salvador Dali, and Jackson Pollock (Collins 2004; Harbster 2012). Eleanor also represented large entities, such as the American Art Dealers Association and the Whitney Museum of Art when it was founded in 1930 (Collins 2004).

CAREER.

Eleanor first entered the fashion world in 1932, after being contacted by designer Annette Simpson, who saw Eleanor’s publicity work in a newspaper (Collins 2004; Diliberto 2009). Though Annette never ended up paying Eleanor for any promotion work, she did inspire Lambert to go into fashion promotion (Collins 2004).

At the time Eleanor had arrived in New York, American designers were not as recognized as those in Paris, which was the fashion capital of the world (Harbster 2012) and had been since the days of King Louis XIV, who used the French fashion industry as a “soft power” to culturally dominate the Western world (Diliberto, 2009). Department stores and manufacturer’s encouraged American designers to copy Parisian designers, and most wealthy women got their clothing directly from Paris (Diliberto, 2009). Plus, New York fashion magazines like Harper’s Bazaar, Vogue, and Women’s Wear Daily exclusively covered French designers (Harbster 2012).

When Eleanor became interested in the fashion world, she decided she wanted to change this. According to Vanity Fair’s Amy Fine Collins, Lambert figured, “If American art was recognized as a legitimate school…why not American fashion? And why, for that matter, did Americans design anonymously, with only a manufacturer’s name on the label, when their French counterparts were world-famous?” (Collins 2004).

Diana Vreeland, who at the time was an editor for Harper’s Bazaar, basically called Eleanor crazy when Eleanor shared this idea, but Eleanor did not let this stop her (Collins 2004)! She began to shift to fashion publicity and put her all into promoting American designers, including supporting the Museum of Costume Art when it was founded in 1937 (Nemy 2003; Young 2012). Later, when the Museum was absorbed into the Metropolitan Museum of Art and became the Costume Institute, Eleanor Lambert devised a fundraising dinner referred to as the Costume Institute Benefit (Young 2012).

By 1939, her clients included, according to Jennifer Harbster, “department stores, beauty brands, perfumes, [and] American and European fashion designers” as well as “hotels, art galleries, nightclubs, [and] restaurants” (Harbster 2012).

Major opportunities to support the fashion industry came in the 1940s, after Eleanor became the New York Dress Institute’s press director (Nemy 2003; Collins 2004; Harbster 2012). World War II began in Europe in 1939, and in June 1940, Paris fell under Nazi occupation (De La Haye 2020). Like the rest of the French art scene, the Paris fashion industry took a hit as its aesthetics were deemed by the Nazis to be “corruptive” and “degenerate.” Its fashion publications shuttered, and resources refocused on servicing Nazi elite as opposed to the rest of the world (De La Haye 2020).

With Paris now isolated, there was a void in fashion which multiple New York department stores and manufacturers sought to fill with American products. That same year, the New York Dress Institute formed during the war to promote New York fashion and fill this void (Collins 2004). To advertise clothing, they initially approached the J. Walter Thompson agency, who created ads based heavily on pro-American propaganda (Collins 2004). The advertisements chided American women for only having one dress in Paris’ absence, while another utilized imagery of Martha Washington tending to dying soldiers (Collins 2004). Though these ads helped the dresses sell, the department store owners considered them tacky, and sought Eleanor’s expertise (Collins 2004).

The first thing that Eleanor did when she became the Dress Institute’s press director was demand they promote their designers (Collins 2004). This was accomplished by forming the Dress Institutes’ “Couture Group,” a group of the manufacturer’s best designers, which included Nettie Rosenstein, Jo Copeland, Maurice Rentner, and Hattie Carnegie (Collins 2004).

To further promote the Couture Group and American designers, Lambert in 1943 created New York Press Week (Collins 2004) where journalists could convene in one building on Seventh Avenue to cover collection showings (Diliberto 2009; Harbster 2012). Whereas prior to Press Week, only local NY journalists could cover collection showings, Eleanor offered to pay for the travel expenses of non-NY journalists so that they could spread the word in other areas of the United States (Collins 2004). Only a third of the journalists Eleanor invited showed up to the first Press Week in January 1943 (Diliberto 2009), but the novelty and convenience of Press Week helped it become more popular and respected as years went by.

One other idea that Eleanor implemented for the Dress Institute was the International Best-Dressed list, which began shortly after she became press director in 1940 (Collins 2004; “Eleanor Lambert” 2003). The idea wasn’t wholly original; Eleanor had borrowed it from the Paris Best-Dressed List, which had ceased operations under Nazi occupation as well (“Eleanor Lambert” 2003).

“I was desperate, reaching for anything that might help,” Eleanor said later of her decision to appropriate the list (Collins 2004).

To start, she sent out fifty ballots to international fashion experts like John Frederics, Jo Copeland, Lilly Daché, and the Vogue and Harper’s Bazaar editors (Collins 2004). The first list was topped by a woman named “Mrs. Williams;” others included socialites Dorothy H. Hirshon (then Dorothy Paley) and Millicent Rogers (Collins 2004). The second list in 1941 included fashion icons and celebrities like Diana Vreeland, Barbara Cushing, and Rosalind Russell, as well as Madame Chiang, and Wallis Simpson, Duchess of Windsor (Collins 2004).

People included on the list were informed by a telegram, that stated:

“I have the honor to inform you that you have been designated to the newly created Fashion Hall of Fame of the International Best-Dressed Poll conducted annually by [the] Couture Group [of the] New York Dress Institute in permanent recognition [of] your distinguished tasted in dress without ostentation or extravagance. Announcement will be made January 5, meanwhile confidential” (Collins 2004).

The list was rather influential. People begged to be on the list, with one person even trying to bribe Eleanor with $50,000 (Collins 2004). First Lady Eleanor Roosevelt once wrote a complaint to Eleanor Lambert because she was not included on the list; while Byron Foy, a filmmaker whose finances were being investigated, complained that his wife was on the list because he didn’t want it to seem like his wife was spending too much money on fashion (Collins 2004). But the list wasn’t without its detractors. One of the most vocal was John Fairchild, editor-in-chief of Women’s Wear Daily, who called the list “a gimmick and a bunch of rot” (Collins 2004).

John Fairchild and Eleanor Lambert were basically industry rivals (Wilson 2003). John, the grandson of Fairchild Publishing founder Edmund Fairchild and turned Women’s Wear Daily into the “fashion Bible” during his tenure, worked briefly in Paris and was known for making or breaking designers (he was famous for feuds with designers like Valentino, Balenciaga, and Givenchy), heavily promoted Parisians and was often at odds with Eleanor over her promotion of Americans (Collins 2004).

“Fairchild wanted to decide everything to do with fashion,” former Tiffany & Co. director John Loring said to Vanity Fair in 2004. “If it weren’t for Eleanor, his power would’ve been absolute” (Collins 2004).

In the 50s, Eleanor represented designers, manufacturers, and industry groups like International Silk Association—basically most of the fashion industry (Collins 2004). Her day-to-day tasks included sending pictures to newspapers, arranging TV interviews, and admitting journalists to press week (Collins 2004).

“There wasn’t a soul on Seventh Avenue who didn’t have Eleanor behind her,” Joe Eula, who helped Eleanor produce the March of Dimes, said to Vanity Fair. “If you couldn’t afford her, and you wanted her, she’d work for free” (Collins 2004).

Eleanor took a brief break in 1959 when her second husband, Seymour Berkson, died of a heart attack. She went through deep depression, which she used her work to pull herself out of (Collins 2004).

After 1960, following the election of JFK, First Lady Jackie Kennedy, as well as her sister Lee Radziwill and friend Jayne Wrightsman, were all included on the Best-Dressed List (Collins 2004). Previously, Eleanor had helped Jackie endear herself to the American fashion press by introducing Jackie to Oleg Cassini after Jackie had been criticized by Women’s Wear Daily for wearing French fashion (“Museum at FIT”).

In 1962, Eleanor parted ways with the Dress Institute after what Vanity Fair called “a clash…between manufacturers and designers over Press Week show dates (which she viewed as a battle between commerce and creativity)” (Collins 2004).

From there, she went on to found the Council of Fashion Designers of America, the goal of which was to “further the position of fashion design as a recognized branch of American arts and culture” and to “advance [the trade’s] artistic and professional needs” (CFDA Staff 2012, 10).

“I’ve always said that getting people together as a community helps further their identity as a whole,” Eleanor later told WWD. “We were a group of people of equal qualifications and equal thoughts about moving forward” (CFDA Staff 2012, 10).

While the implementation of Press Week, the Best-Dressed List, and the CFDA all helped boost the American fashion industry’s reputation domestically, perhaps the Eleanor’s best and most well-known effort was the 1973 Battle of Versailles, which helped boost the credibility of American fashion designers internationally (Collins 2004; Harbster 2012).

Gerald van der Kemp, then the curator of Versailles, suggested that Lambert arrange a fundraising event to help restore the queen’s bedroom in Palace of Versailles (Wilson 2003; Fashion By Look 2013). To generate press, Eleanor conceptualized the Grand Divertissement á Versailles, best known as Battle of Versailles, in which American and French fashion designers would face off against each other (Harbster 2012; Borelli-Persson 2022).

Eleanor chose designers Bill Blass, Stephen Burrows, Oscar de la Renta, Anne Klein, and Halston to represent the Americans, while Givenchy, Yves St. Laurent, Marc Bohan for Dior, Pierre Cardin, and Emmanuel Ungaro were chosen by Marie-Hélène Rothschild and a committee (Harbster 2012). The guest list for the event included figures like Princess Grace of Monaco and Madame Grès, and a weeks’ worth of parties preceded and followed the event (Borelli-Persson 2022).

The Battle of Versailles wasn’t simply a battle of designers, but a battle of culture as well. Josephine Baker and Liza Minelli performed for the French and Americans, respectively; and the difference in the way of the old guard versus the new was evident in the Parisian’s direction choices—a star-studded cast, elaborate performances, grandiose set pieces—as opposed to the New Yorker’s snappy, relaxed flow (Borelli-Persson 2022).

Though the feature-film length display of the French designers certainly affirmed their grandiosity, the consensus among the guests and press who attended was that the American designers took the night, with their laid-back presentation, lively models, and up-to-date tastes.

“The entire French half of the evening was built around glories of the past,” journalist Eugenia Sheppard wrote for the Los Angeles Times in December 1972. “The Paris designers who opened the evening’s entertainment…did everything in their power to confirm the rumor that made-to-order fashion is going out of date. The stage settings were about as contemporary as a bustle and equally as cumbersome” (Borelli-Persson 2022).

In an interview with Women’s Wear Daily shortly before her death, Eleanor Lambert said that she did not set out to “prove” the worth of American designers to the French, and that she only intended for the event to be fun (Wilson 2003). Still, she also said:

“We sure did prove we were equal. People threw their papers in the air and screamed and yelled. It was wonderful. I do feel very proud that American designers are equal to anyone in the world, including the French. They should have had that equality. Versailles was a hilarious and unforgettable thing. It was exciting because, by accident, it became a special thing that proved a point” (Wilson 2003).

In addition to showcasing the talents of New York designers, the Battle of Versailles also had the effect of highlighting Black American talent, such as designer Stephen Burrows and models Pat Cleveland and Bethann Hardison (Keong 2016) and led Givenchy to start its black model cabine consisting of Cleveland, Hardison, Billie Blair, Alva Chinn, Jennifer Brice, and Ramona Saunders (Keogh 2018).

Lambert continued promote American fashion until closing her office in 2002, as she was approaching the age of 100 (Wilson 2003). Tiffany & Co. was among her last clients (Wilson 2003). Though she wasn’t incredibly interested in contemporary fashion after her retirement, and declared fashion shows no longer worth looking at, her last public appearance was at New York Fashion Week, a month before her death in October 2003 (Wilson 2003; “Eleanor Lambert” 2003).

LEGACY.

Much of what Eleanor instituted continues to function today. Press Week has since evolved into New York Fashion Week, and other fashion weeks, such as those in Milan, Paris, and London, capture the attention of fashion buyers, journalists, and enthusiasts twice a year in the spring and fall (Diliberto 2009). The International Best-Dressed List is now controlled by Vanity Fair, who Lambert bequeathed it to prior to her death (Collins 2002). The Costume Institute Benefit, known today as the Met Gala, is now controlled by Vogue editor-in-chief Anna Wintour. ‘Fashion’s Biggest Night’ continues to draw massive attention to the New York fashion scene and raises millions of dollars for the Costume Institute each year (Widjojo 2022). The Council of Fashion Designers of America is currently run by Steven Kolb, its CEO & President, and fashion designer Tom Ford, who functions as chairman. It continues to foster and highlight American designers through its annual awards ceremony, scholarships, and grants.

If you liked this video and would like to be notified for more like it, be sure to click the subscribe button below. I also provide updates via email and the social media links listed in the description below. For daily education and inspiration from women in the arts, feel free to follow my Instagram archive page also linked in the description. Thanks for watching.

•••

SOURCES

“Eleanor Lambert: Defining Decades of Fashion.” YouTube, uploaded by Fashion By Look, 21 November 2013, https://youtu.be/inaLhwknn0g. 

“Eleanor Lambert.” Telegraph, 10 October 2003, https://www.telegraph.co.uk/news/obituaries/1443712/Eleanor-Lambert.html. Accessed 12 December 2022.

Borelli-Perrson, Laird. “Everything You Need to Know About the Battle of Versailles Before Seeing “In America: An Anthology of Fashion.” Vogue, 25 April 2022, https://www.vogue.com/article/everything-you-need-to-know-about-the-battle-of-versailles-before-seeing-in-america-an-anthology-of-fashion.

Collins, Amy Fine. “The Lady, the List, the Legacy.” Vanity Fair, 1 May 2004, https://www.vanityfair.com/news/2004/04/eleanor-lambert200404. Accessed 12 December 2022.

Diliberto, Gioia. “Eleanor of Seventh Avenue: Where Fashion Week Came From.” Huffington Post, 9 November 2009, https://www.huffpost.com/entry/eleanor-of-seventh-avenue_b_268619.

Harbster, Jennifer. “Eleanor Lambert—Empress of Seventh Avenue.” Library of Congress, 19 January 2012, https://blogs.loc.gov/inside_adams/2012/01/eleanor-lambert-empress-of-seventh-avenue/. 

Keogh, Pamela. “How Hubert de Givenchy Brought Diversity to the Runway.” Vanity Fair, 13 March 2018, https://www.vanityfair.com/style/2018/03/hubert-de-givenchy-pat-cleveland.

Keong, Lori. “Relive the Magical Fashion Battle of Versailles.” The Cut, 8 March 2016, https://www.thecut.com/2016/03/relive-the-magical-fashion-battle-of-versailles.html.

Nemy, Enid. “Eleanor Lambert, Empress of Fashion, Dies at 100.” New York Times, 8 October 2003, https://www.nytimes.com/2003/10/08/nyregion/eleanor-lambert-empress-of-fashion-dies-at-100.html. Accessed 12 December 2022.

Thurman, Judith. “Eleanor Lambert: Fashioning a Lifestyle.” Hearst Magazines, March 2001, http://proxy.library.vcu.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,url,cookie,uid&db=f5h&AN=4111195&site=ehost-live&scope=site.

Widjojo, Conchita. “History of the Met Gala: How it Turned from Fundraiser to Fashion’s Biggest Night.” Women’s Wear Daily, 27 April 2022, https://wwd.com/fashion-news/fashion-scoops/met-gala-history-how-it-turned-from-fundraiser-to-fashions-biggest-night-1235167840/. 

Wilson, Eric. “Eleanor Lambert Celebrates an American Fashion Century.” Women’s Wear Daily, 6 August 2003, https://wwd.com/fashion-news/fashion-features/eleanor-lambert-celebrates-an-american-fashion-century-723223/.

Young, Greg. “The Origin of the Met Gala and its Surprising Roots in the Lower East Side.” The Bowery Boys, 1 May 2012, https://www.boweryboyshistory.com/2022/05/the-met-gala-and-the-mets-costume-institute-trace-their-origins-to-a-lower-east-side-playhouse.html.

[k00284431]

Artist Research- Jonathan Mcafee

Jonathan McAfee (b. 1982) is an artist working in Evergreen, CO. After graduating from Herron School of Art and Design (Indiana University) with a B.F.A. in painting, McAfee began focusing on the figure and developing his expressive application of paint.

He has exhibited in solo exhibitions at the Evansville Museum of Arts, History & Science (Evansville, IN) and Artwork Network (Denver, CO). His numerous group exhibitions include Muses of Mt. Helikon IV at Helikon Gallery (Denver, CO) and The Self-Portrait Show at Gallery 924 (Indianapolis, IN). McAfee was awarded the second annual North American Artist Showcase (June 2016) through Professional Artist Magazine

McAfee's work is collected throughout the U.S. and Europe.

I really enjoy Mcafees work. I like the way he draws out the bodies of the people he is painting and i find his style to be really satisfying. As part of my project is drawing different body types i find that i can kind of relate to the subject of some of his paintings.

[pwlanier]

Study for The Results of Good Housing 1940

Hale Woodruff

American, 1900–1980

These works are studies for murals that hung in the Herndon Homes, then a celebrated new public housing project and among the last of its kind in Atlanta before it was demolished in 2010. For the commission, Woodruff addressed the benefits of replacing the city’s derelict housing with modern facilities, including indoor plumbing and outdoor communal spaces. Upon completing these studies, Woodruff presented them to James H. Therrell, then Atlanta’s director of housing, to commemorate his efforts to improve conditions for the community’s most impoverished citizens.

High Museum

[ultraheydudemestuff]

Herron Gymnasium - Van Voorhis Hall

High Street

Oxford, OH

Herron Gymnasium was a gymnasium and classroom building on the Miami University campus in Oxford, Ohio, later known as Van Voorhis Hall. The idea for a gymnasium first came about at an 1893 meeting of Miami University's Board of Trustees. John W. Herron, an 1845 Miami graduate and Cincinnati lawyer who served as president of Miami's Board of Trustees and eventually became the facility's namesake, served alongside two other men on a committee to plan the facility's construction. In February 1893, the school received $2,500 from the state to furnish the gymnasium. After planning throughout 1896, Miami finally built the gymnasium in 1897, naming it after Herron, who was so modest that he refused to have his name adorn the building; the building's exterior instead read "The Miami Gymnasium".

Herron was Miami University's first gymnasium. The building, a rectangular, two-story Romanesque revival-styled building with a truss roof, was constructed by F.E. Townsend, an architect selected by John Herron from nearby Hamilton. Herron Gymnasium consisted of two floors and a basement. The first floor held two classrooms and the chapels for the YWCA and YMCA, as well as offices, bathrooms, and dressing rooms. The gym took up the entire second floor, and had an elevated track. The first recorded game at Herron Gymnasium was a 1904 basketball game between the university team and some amateur players. In 1923, the building was moved 522 feet east to facilitate construction of Ogden Hall, a new dormitory. Its final site was near the present-day Roudebush Hall, along Oxford's High Street.

The gym was coeducational until 1931, and would serve as the main recreational center until 1932 when it became a women's gym due to the construction of Withrow Court, which was a male-only gym. After the change, students petitioned the Board of Trustees to rename the building Herron Hall, which they approved in June 1932. Except for an interlude during World War II when it served as a Navy barracks for the Navy Radio School that operated at Miami, it served as a women's gym until the construction in 1962 of a new women's recreational facility called "New Herron" which would later be renamed Phillips Hall in honor of Margaret Phillips, director of women's physical education at Miami for over 40 years.

The gym then became known as Van Voorhis Hall or Old Herron. The new namesake of this gym was Thomas Van Voorhis, Miami's longtime director of intramural sports. After 1962, the building’s use was diminished, and it served primarily as a venue for Miami's AFROTC program and men's intramural sports; it also held a yearly student art show. In the late 20th century, it was listed under its original name with the National Register of Historic Places on November 29, 1979, but was ordered to be demolished by an 8–1 vote from the Board of Trustees in 1986. The former gym was replaced with a parking lot near the current site of Roudebush Hall, the university's administration building.

Van Voorhis' daughter noted in a letter to the school that the gym, then Miami's oldest academic building "...stuck out like a sore thumb," and said her father would have wished to see it torn down. However, Sergio Sanabria, a Miami architecture professor, disagreed and called the push to demolish the building "irresponsible" as it was still structurally sound and the cost of renovation would have been comparatively inexpensive. Other faculty said that Herron served as an important part of Miami's identity as the coaching classes held there played a protracted role in developing the Cradle of Coaches at Miami.

[mybeingthere]

Casey Roberts, b 1971, Indianapolis, IN

"I was born in 71. I live and work in gorgeous Indianapolis. I went to the Herron School of Art and Design as a printmaking major. I’m pretty sure I always wanted to be an artist. I did flirt with the idea of racing cars. I remember when I went from just wanting to be an artist to knowing that is exactly what I was going to do forever, in late 1981 when I saw the Talking Heads video for “Once in a Lifetime”. It made an impression on me.

I use cyanotype, which is an “alternative photographic process” going way back to around 1850. I paint with the light sensitive liquid solution, and after being exposed to sunlight and washed out with water it leaves a rich blue color. I can then use a baking soda or a mild bleach solution that lightens the original blue color to a yellow or green tone allowing me to draw back into it."

[indianabeach]

Jacob Mullins

Indianapolis, IN

Pull the Plug 2022 Acrylic, gesso, India ink, marker and colored pencil on paper, 17 x 15 in $300

Jacob Mullins (b.1993) comes from the flat unassuming suburbs north-west of Indianapolis, IN. He received his BFA in painting from Herron School of Art + Design in 2017. A recipient of the 2016 Robert B. Berkshire award and the Leroy Neiman Foundation Summer Fellowship award at Oxbow School of Art in Saugatuck, MI.

@extrahairypeople

[banffcentrelibraryandarchives]

Artists’ Book Display for the week of March 16th, 2020

Mona Lisa and other mail art projects by Edwin Varney; Ann Rosenberg; Surrey Art Gallery (B.C.); Museo Internationale de Neu Art- Surrey, B.C. : Surrey Art Gallery, 1988

Copier Books By Minnesota Center for Book Arts-1990

Output Herron School of Art, Indianapolis

The Scream by  Melanie Holzman, 1993.

Spaces by Telfer Stokes; Weproductions Print book: London : Weproductions, 1974