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In memory of Frank Soos, former award-winning Alaska writer and professor of creative writing

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Frank Soos (Photo courtesy of 49 writers.)

Former Alaska award-winning writer and professor at the University of Alaska Fairbanks, Frank Soos, has passed away. Soos was on a solo bike ride in Maine last Wednesday when he suffered a fatal accident.

Frank Soos was born in 1950 and raised in the mining town of Pocahontas, Virginia. His parents had a market and this education taught Soos and his brother the value of hard work and community. Soos has never lost his regional accent or his self-defeating courtesy. While his literary interests originated in high school, they caught fire at Davidson College.

“Davidson sort of looked like that dream,” Soos said in 2019. “There were all these guys sitting under the trees reading books and talking. I thought, wow, if it’s college, I can do it.

At Davidson, Soos would meet his longtime friend and sometimes collaborator, art historian and painter Kesler Woodward. After college Soos taught high school for a while and found out he liked it, but life as a writer beckoned him and he entered the Creative Writing Program at the University of L ‘Arkansas, where he earned an MFA. Soos said higher education was unexpectedly enlightening.

“It was a horrible program,” he said. “It was intentionally cruel, and I decided I would never participate in a program like this if I was a teacher.”

These lessons found expression when he joined the English department at the University of Alaska at Fairbanks in 1986. There he met poet Peggy Shumaker and together helped forge a creative writing program. which has attracted writers from across the country and trained a new generation of renowned Alaskan authors.

“We had graduate students coming to me and I was like, ‘Here’s where you can compress,’” Shumaker said. “And then they would go to Frank and Frank would say, ‘Well, maybe this is a place you can do it longer. “And I’m sure we confused a lot of students at first, but believe it or not, it worked.

Shumaker said Soos was the most generous teacher she had ever met.

“You learn when you are a teacher that if you put demands on students, you will impose them on yourself,” Soos said in 2019. office and read a lot of articles and make a lot of comments to prepare for all these lectures . This is teaching.

This commitment to hard work extended to her writing. Shumaker says that in addition to his elegantly crafted phrases and odd ear for dialogue, Soos continued to write no matter what.

“He worked for decades with very little recognition and then all of a sudden he had two pounds at a time,” she said. “And he was typically modest. But what he always did, in good times as in bad times, he just kept plugging in.

This tenacity saw Soos win the Flannery Connor Prize in 1998 and become the Alaska Winning Writer in 2014. A posthumous collection of Soos stories is expected to be released in 2023.

While Soos has always claimed to be a loner, he has managed to form a series of creative collaborations – with Shumaker and the painter Woodward and more intimately with his wife and artist Margo Klass. He is also inextricably linked to the Fairbanks bike and ski clubs. Longtime friend and fellow Nordic skier, Susan Sugai said that while Soos does not compete in races like the 50K Sonot Kkaazoot, he does volunteer bibs or timing races.

“He knew times are important to people,” she said. “It’s not necessarily the people who win, it’s the people who participate and try to improve. He liked it.


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Gaia Servadio, writer, literary salonist and Boris Johnson’s first stepmother – obituary

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Gaia Servadio, who died in Rome at the age of 82, was a journalist and writer of irrepressible Italian descent, author of some 40 books, who spent most of her life in Britain and who animated for decades one of the last notable literary salons; she was also formerly Boris Johnson’s mother-in-law.

Encouraged by an Anglophile mother who had worked at the British Council in Rome, Gaia Servadio arrived in London in the mid-1950s, when she was 17. Originally, she hoped to be a painter, and enrolled in the Chelsea School of Art before studying design. at St Martin’s and Camberwell.

Luckily, the BBC asked him to participate in the making of a documentary on Danilo Dolci, the Sicilian social activist. It started her career as a journalist, first as a correspondent for Italian newspapers, although later she wrote for British newspapers, including the Telegraph headlines.

She has especially established herself by her work on the Mafia, little known beyond Sicily before the 1960s. Following the popular success of The Godfather, she published in 1974 a biography of the boss of the Mafia Angelo La Barbera, who is stabbed to death in prison the following year. She herself received threats and then focused on other matters.

In 1961, when she was still in her twenties, she married Willy Mostyn-Owen, who was then working for Christies. Ten years his senior, he was familiar with Italy, having previously been employed by art historian Bernard Berenson at I Tatti, his home in Florence.

An Old Etonian – a school she thought was overrated – and the owner of Aberuchill Castle, Perthshire, and Woodhouse, a Georgian mansion in Shropshire, Mostyn-Owen provided an entry into English society for Gaia.

Although she in turn brought a decided glamor to it, like many expats, she could be scathing about her new home. “The English – well, some of them are terrible fools,” she mused of the upper-class milieu she found herself in, “but some are eloquent and literate.”

She felt treated by her husband’s friends as an oddity (she never lost her hoarse accent), perhaps not least because she was then a full member of the Italian Communist Party. She later revealed that Mostyn-Owen had also been baffled by the overwhelming success in 1967 of her Candide-style novel Melinda, On the Spirit of the Times.

Although the couple had three children and their marriage did not officially end until much later, there has been infidelity on both sides. Her many admirers included Gianni Agnelli, who wooed her aboard his yacht. When, in a fit of anger at her young son’s mess, she threw all of her toys out the window, including a highly prized model of a Fiat 500 that Agnelli had given her, the tycoon replaced it with another – on a large scale.

Gaia Servadio believed that Agnelli was drawn to her because he was used to women who were “princesses or prostitutes”, not to those who had their own opinions; she was always aware that in Italy it was difficult to be taken seriously as a woman. She was cheerfully outspoken, her dislikes encompassing political correctness and psychoanalysis (“the penance of the middle classes”).

Her home on the Chelsea-Pimlico border, her chaotic cuisine reflecting a style of making that she admitted to be ‘rushed’ or sloppy, has become a meeting point for many other Italians passing through London.

Among the visitors were Primo Levi, a friend of his father, a fellow industrial chemist, Inge Feltrinelli, widow of the publisher of Dr Zhivago, and director Bernardo Bertolucci and his wife Clare Peploe.

There they could meet historians and writers such as Eric Hobsbawm, Denis Mack Smith, Al Alvarez and Lady Antonia Fraser. Gaia Servadio’s address book ranged from Harold Acton to Evelyn Waugh, including Maria Callas, Pierre Cardin, EM Forster, Mary McCarthy, Nancy Mitford and Philip Roth.

Her own books, mostly in Italian, included biographies of director Luchino Visconti (1980) and composer Gioachino Rossini (2015), an inspirational life for La Traviata, Giuseppina Strepponi (1994) and a study of Renaissance women. (1986).

Among a myriad of other projects in which she was involved include a Gustav Mahler music festival in London in 1985, organized with Claudio Abbado, the conductor, and a Verdi Week in 2011 for the Italian Embassy in the occasion of the 150th anniversary of the Unification.

Several times in the 1980s, Gaia Servadio hosted Channel 4’s talk show After Dark. She also researched the archeology of Sicily (for which she learned to read Phoenician), and in 2008, Asma Assad, the wife of the Syrian ruler, asked him to organize an arts festival in Damascus, although the events were unsuccessful.

Travel was another passion, not only in the Middle East, but also in India, France and Russia. She was proud to speak a little Russian, and in a characteristic episode, on a recent trip to Estonia, she haggled with a street vendor for the price of a box of caviar. When it was opened it turned out to contain dog food.


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3 tips for writing female friendships in fiction

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“I would be lost without you.” These words from Nancy Mitford The pursuit of love talk about the primacy of friendships between womena theme poignantly evoked in the wonderful new television adaptation of the novel. The story follows two young women from their little girl days to melodramatic teenage girls and, finally, femininity. By losing themselves, they lose themselves.

In the story of the novel, it’s a radical feeling. Novels focusing on female friendships are a relatively recent invention. A mirror of society and culture, the English novel, which became the precursor of the American novel, favors the marriage plot. Dating back to at least the 18th century, courtship and marriage provided both the subject and the narrative arc of fiction.

Fortunately, we are past the days when friendships between women were relegated to the background. From now on classics like Nancy Mitford’s The pursuit of love and Mary McCarthy The group contemporary books such as Elena Ferrante’s Neapolitan trilogy and Emma Cline’s Girls, the authors credibly and richly integrated female friendships into the lives of their characters.

I wrote two novels about real women in history, first the poet Forugh Farrokhzad in Song of a captive bird, a novel released in 2018, and more recently with the iconic photographer Dorothea Lange in The Bohemians, released last April. Each book taught me how looking at female friendships can enrich my storylines and create a truer and more engaging portrayal of the lives of my characters. Here are three.

(5 tips to breathe life into “real life” fictional characters)

Put friendships first

One way to approach friendship in fiction is to treat it as worthy of its own story. We like to imagine our heroines as self-sufficient and independent, but studying the lives of women in history, as well as the women in our own lives, shows how they often only became powerful through their relationships with other women. Rather than portraying your heroine as a lonely renegade, think about how her friendships have helped shape her.

Just as Dorothea Lange’s actual story hasn’t been cohesive until she finds friends without considering her friendships, my story about her may not have been cohesive. When I was doing research The Bohemians, I discovered that she had worked with a Chinese-American assistant in her first portrait studio in the 1920s in San Francisco. Although the relationship has been overlooked in biographical accounts of Lange’s life, it seemed to me that this collaboration must have left its mark on her, so I set out to imagine her through a fictional tale.

In The BohemiansDorrie’s empathy for the strangers and the dispossessed (a signature of Lange’s work) grows through her friendship with Caroline Lee. Thanks to Caroline, she gets to know parts of San Francisco that might otherwise have gone unnoticed. When writing fiction, think about how friendship opens up different worlds for your character. As in life, a fictional friend may present your character with a drastically different life experience or outlook on life, which may cause them to change course.

Complicate friendships to make the best stories

Tension is the cornerstone of good storytelling. Culture and literature have described the relationships between women as predominantly and inevitably competitive. Jealousy certainly makes its appearance even in the tightest unions between women, but friendship is just as likely the source of support and companionship.

While it is important to go beyond the myth of rival women, be careful not to rule out all conflicts between the female characters. In The Bohemians, Dorrie and Caroline are two young women immersed in the drama of discovering each other. They make mistakes and they call themselves on those mistakes. Their disagreements are part of the story of their evolution towards femininity.

While you can certainly follow a character’s development in other ways, putting them in conversation with a friend gives the reader intimate access to their state of mind. Uncomfortable truths, buried secrets, long-standing rivalries: friendships embody complexities and invite dialogue. It is in the conversation with our friends that we give meaning to our life; aspects of our stories that seem fragmented or inexplicable are made whole by the stories we tell ourselves.

Playing friendship against other relationships

Another way to delve deeper into the role of friendship is to consider how it plays out against other relationships in your characters’ lives. Friendships between women can begin in childhood and end in adolescence, or later in life. Other life experiences can darken them or even extinguish them altogether. When Dorrie falls in love with the painter Maynard Dixon in The Bohemians, his friendship with Caroline inevitably changes, creating a different closeness between the two women.

A number of things will change and eventually turn a friendship between women for good. How do friendships survive such changes? What remains of a friendship we left when we went to college or had kids or moved across the country? Paying attention to how friendships change over the years – and why those changes are happening – can tell us a lot about how characters deal with fear and challenges.

Friendships connect the past and the present; they speak forcefully of how we are becoming what we are becoming. In a world where the idea of ​​friendship can seem toned down and imperiled, writing about female friendships can remind us how much our lives depend on genuine connections with our friends. They are our witnesses, our confidants, our champions and, yes, sometimes also our enemies. In fiction, friendship provides a space where our characters can be themselves unvarnished, showing us what might otherwise be lost for us and also for them.

Advanced novel writing

Push yourself beyond your comfort zone and take your writing to new heights with this novel writing workshop, specially designed for novelists looking for in-depth commentary on their work. When you take this online workshop, you will not have weekly reading assignments or lectures. Instead, you’ll just focus on making your novel.

Click to continue.


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A reader wanted to return a work of art to the painter’s family, and she found it

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—–

This photo of a painting was featured here last January. The painting was done by Adeline Speletich, Fargo, years ago and had come into possession of Joy Streed, Fargo, who wished to return it to a member of Adeline’s family.

Joy tells “Neighbors” that she is happy to announce that she then found out about Adeline’s great-granddaughter in Wisconsin and sent her the painting.

Meanwhile, information about Adeline arrived.

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“Mrs. Spelletich was my next door neighbor for 11 years in the 60s and 70s”, Joan moen, Fargo, writes. “She was a lovely woman with a great sense of humor.

“She was a writer, sculptor and artist. I could go on and on to describe his attributes.

“When my three sons were young children, I asked him if I could buy a painting. She responded by giving me one.

“She was a down to earth woman who loved life while putting up with a divorcee with three little boys living next door.

“We were devastated when she died in a car accident in 1975.”

David Anderson, Fargo, writes that Adeline was her grandfather’s sister HC Aamoth.

“I have a painting of her hanging in my office, Dakota Monument Co.,” he says.

“I believe her husband Adam owned Adam’s Equipment. They are both buried at Riverside Cemetery in South Fargo.

“If I remember correctly, Adeline died in a car crash on Downer’s Road at the right-hand intersection in Downer, Minn. She and three girls were on their way to the lakes.”

Marjorie schlossman, Fargo, also writes, noting that Adeline was her grandmother’s close friend.

“My grandmother, Alice (Jordan) Black, was married to George Black the unnamed Fargo store and the black building, ”writes Marjorie.

This painting was done by Adeline Spelletich, and a message on the back says it was given to a friend of hers, Mrs. Black.  Special at the Forum

This painting was done by Adeline Spelletich, and a message on the back says it was given to a friend of hers, Mrs. Black. Special at the Forum

RELATED COLUMNS:

“I’m writing to you about the column you had on the record stores in Fargo; Daveau, as an example ”, writes Carol zieman, Oakes, North Dakota

“When I was working in Fargo at the time, I was buying music and records from Daveau,” she says.

“But my roommate and I had our favorite store… Bernie’s, just off Roberts Street.

“I was teaching in a rural school. One day, while writing to my friend in Fargo, I heard the song ‘Heartbreak Hotel’ on the radio. I pointed out in my letter about this new singer, and that I liked his voice.

“About a week later, I went to Fargo to stay with my friend and her mother. My friend had heard the song too, so we went to Bernie’s and bought our first Elvis Presley record. I still have it.

“When I went to work at Fargo, we often dated Bernie’s; more Elvis recordings (ha ha) and lots of music from the 50s (usually 45).

“Your article on Daveau, etc., brought up funny memories of Fargo and Bernie.

“I could say,” Carol continues, “when two young girls are probably working at their first job, one doesn’t earn a huge salary, but we always found enough $$$ to buy these records.

“I might add that my favorite Elvis CD is ‘One Alone’, a group of gospel songs. “


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100 Sculptures – NYC – The Brooklyn Rail

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new York

anonymous gallery
June 30 – August 21, 2021

Stroll around the two floating shelves suspended from the ceiling to 100 sculptures at the anonymous gallery you have something of the sense of wonder that must have invigorated Darwin, fresh off from HMS Beagle, wandering and investigating the sometimes familiar, but often alien, species of the Galapagos. Todd von Ammon and the gallery have organized together a menagerie of forms: these objects can illustrate the history of sculpture, they certainly represent its different categories and typologies, and all are very small. They moved from the figurative to the abstract, from the absurd and surreal to the conceptual and symbolic.

Faces and body parts in particular are immediately imprinted on our perception. B. Thom Stevenson’s My eyes are up there (2018) is the simplest rendering of a face: two circles punched into a larger circle of steel emerging from a shallow plateau, while Kristin Reger’s Swerving (2018) confronts us with a tongue of gray and pink glossy sandstone, and that of Nevine Mahmoud Tutti glass (2018) takes the form of an elongated glass chest. Still in ceramic, Hugo Montoya created a hybrid of a phallus and a woman’s torso in Venus penis (2018), an erotic container carrying a handle. The motivation for turning these small items into practical tools also seems logical: Small things tend to inhabit our space more intimately, and sitting on our shelves and desks, they can often serve a dual purpose. Some of the 100 sculptures shown here, however, emerge from the opposite end of this thought process, imitating little things we use and turning them into static shapes we can’t. Tony Matelli’s¢ 27 (2021) is a glass with a gel of 27 cents embedded in polyurethane. With Daniel (2017), Andrew Ross takes a plastic cast of a cherry bomb, 8th hour (perpetual night) n ° 1 (2020) manifests a fondant bronze candle by Nicole Nadeau, and Dixie Cup (rejected) (2018) finds a Dixie Cup electrolytically crushed by Shelter Serra. All these objects are rendered useless by their material metamorphosis.

Still channeling Darwin, we can also examine the company these small objects keep: each of the two “cabinets of curiosity” in 100 sculptures has three wide shelves providing an expanse of ground in which to create environments and relationships between works. At Urs Fischer Untitled (2013), a painted earth dove of peace surmounted by a fleshy egg, is close to that of Remy Cherry Remy (1) (2018), a rose quartz egg with oil painted ornaments, which stands next to Daniel Giordano My Clementine LXLV (so good) (2020), a spotted and humble Raku ceramic globe that embodies two readings of the fertility symbol sphere: the egg and the fruit. Ray Johnson’s simple, undated and untitled wood block with a bunny in black and white, seems to share little with Ryan Foerster’s Modeling for dinner (2018) behind him on the bottom shelf. Even when two objects seem to share little, the very tension of their dissimilarity turns out to be productive, making us aware of the codes and taxonomies we use to give meaning to works of art. The first participates in this status because of the fact that it is inscribed with a mystical image of leporidae, and the second because it is an intriguing colorful abstract object perched on top of a support, legitimizing it by as art. They may not be the same gender or family, but they definitely inhabit the same kingdom.

So, with a set of samples like this on hand, is it just for some casual fun looking at 100 small pieces of sculpture? Of course not, there is also a lot to learn here. At this kind of scale, the intention is not to crush, but to be direct. Very few works appear to be leftovers or rubbish. Like Darwin’s research on animal species, the alien qualities of the unknown are often dazzling, but we only begin to understand them by comparison with what we already know. What struck me about this sculpture exhibition in the age of NFT and digital insubstantiality is the presence of things that artists have known and used for thousands of years. Elizabeth Kley’s Small Colorful Earthenware Beaker Cylinder with green leaves (2015); Sage Schachter Lucky mug (2020), a cute, warped little drinking vessel apparently mired in its own spilled milk; Love / Hate vase (working title) (2021) by Roxanne Jackson, a tattooed amphora enhanced with very kissable red lips; and that of Emily Mullin Flex all day (2018), bringing everything back to the start with a simple vase bud and an even simpler geometric icing, all these works bring us back to the fundamentals, and thus give us a precious light on the task of artistic innovation. If the sculpture did, in fact, begin with a vase, or a cup, or a bowl, the implication is that the medium was always a frame to contain or display what was already there.


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acclaimed painter dies at 81 – Legacy.com

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Chuck Close was a famous artist known for his large-scale portraits, some of which consisted of many small paintings arranged in pixels.

Renowned artist

Close was one of the best-known artists of his time, with a large number of works centered on huge portraits of friends, fellow artists, and celebrities. Some are virtually indistinguishable from the photographs. Others are photorealistic from a distance, but on closer inspection they become pixelated into hundreds or thousands of tiny paintings. Close experimented with his pixelation style, composing one artwork with fingerprints from an ink pad and another from handmade pulp. He digitized thousands of his tiny paintings into a computer and arranged them digitally to create larger portraits.

Close revealed he suffers from prosopagnosia, or facial blindness, a difficulty recognizing the faces of those he sees regularly. He assumed he was drawn to portrait painting because of it. In 1988. Close suffered a spinal artery collapse that left him paralyzed from neck to toe. He later regained limited movement and relearned how to paint, although he used a wheelchair for the rest of his life. In 2017 and 2018, several women accused Close of making vulgar comments while posing for him in his studio. Close apologized for the comments, and a scheduled exhibition of her art at the National Gallery of Art has been closed in response to the allegations.


Notable quote

“My art has been greatly influenced by having a brain that sees, thinks and accesses information very differently from other people. I was not aware of making the decision to paint portraits because I have trouble recognizing faces. It came to my mind 20 years after the fact when I looked at why I still painted portraits, why it was always urgent for me. I started to realize that it had been supporting me for so long because I had trouble recognizing faces. —From a 1995 interview for Bomb

Tribute to Chuck Close

Complete obituary: The New York Times

See more legacy videos



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Creator of gigantic portraits, painter Chuck Close, dies at 81: NPR

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Chuck Close was known for his giant photorealistic portraits of friends and colleagues in the art world. Late in her life, Close was charged with sexual harassment.



IN MARTINEZ, HTE:

The art world mourns the loss of Chuck Close, who died yesterday of congestive heart failure in Oceanside, NY. He was 81 years old. Close has made a name for himself as a virtuoso portrait painter. Marisa Mazria Katz tells us about her extraordinary journey.

MARISA MAZRIA KATZ, BYLINE: Chuck Close came from a generation of American artists who imbued the 1960s conceptual art world with a more humanistic and some might say romantic sensibility. For Close, that meant embracing the most happening of all art forms at the time – portraiture. His brash, large-scale photorealistic portraits were an almost immediate success. One of his most iconic images was of a shirtless, confident rebel with thin hair, thick rimmed glasses and a cigarette hanging from his lips. Close was born in Monroe, Washington, in 1940. He was dyslexic and struggled in school. He spoke about it in 2012 on “CBS This Morning”.

(EXCERPT FROM THE TV SHOW, “CBS THIS MORNING”)

CHUCK CLOSE: I was in eighth grade and was told not to even think about going to college. I could neither add nor subtract, I could never memorize the multiplication tables, I was advised against doing algebra, geometry, chemistry.

MAZRIA KATZ: Still, he got his art degree from the University of Washington and got his master’s degree in fine arts from Yale. In the late 1980s, Close’s career was soaring, but tragedy struck. A collapsed spinal artery initially left him quadriplegic. Here’s Close talking to Charlie Rose in 1998.

(EXTRACT FROM THE ARCHIVED RECORD)

CLOSE: Virtually every muscle group from my chest down is compromised to one degree or another.

MAZRIA KATZ: After the rehabilitation, he regained the use of his arms and was able to paint using a special splint on his hand. His work has been acquired by major institutions around the world. He went on to paint politicians like Bill Clinton and photograph celebrities like Brad Pitt and Oprah Winfrey. In 2017, several women who had posed in his studio accused him of sexual harassment. In an interview with the New York Times, he denied making some of the reported comments, but admitted he was rude and outspoken. About six years ago, Close was diagnosed with frontal lobe dementia, which results in progressive loss of brain function. Yet during the last years of his life he maintained a solid profile in the art world through exhibitions held around the world.

For NPR News, this is Marisa Mazria Katz.

Copyright © 2021 NPR. All rights reserved. See the terms of use and permissions pages on our website at www.npr.org for more information.

NPR transcripts are created under rushed deadlines by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative recording of NPR’s programming is the audio recording.


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45 sculptures by Lasalle School founder Joseph McNally will be sold to raise funds, Arts News & Top Stories

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SINGAPORE – A treasure trove of 45 sculptures by the late Brother Joseph McNally will be sold to raise funds for HopeHouse, a halfway house run by La Salle Brothers of Singapore.

This is the first time that such a large collection of works by the founder of the Lasalle College of the Arts has been put on sale.

All proceeds will be used to finance a five-story building located on the grounds of St Patrick’s School. Brother Nicholas Seet, 62, says the construction budget has dropped from $ 5 million to $ 9.5 million due to delays related to the pandemic.

This collection represents Brother McNally’s last artistic legacy – the La Salle Brothers have no more works.

Brother Seet thinks the art educator would have approved the reason for the sale. “Knowing Brother Joseph and his concern for the marginalized, he would not disagree with the sale. It is in line with our mission.

Ms Diana Lim, 62, an art collector who helps the Brothers organize the auction, says the collection is in very good condition. “They were stored in two rooms with no windows, just a door.”

Most of the exhibits have remained intact since Elder McNally died in 2002 from a heart attack in Ireland. Brother Seet admits that the works remained in reserve because the Brothers did not know what to do with them. “We have no aesthetic knowledge.”

The sale, organized by 33 Auction, is scheduled for late September or early October, depending on the date of completion of the renovation work on the new auctioneer space at Tanjong Pagar Distripark.

33 Auction handled the sale of two McNally’s works in 2018, the last time his works hit the market. Company director David Fu, 38, said, “One of the works valued at $ 20,000 sold for $ 30,000.”

Organizers hope to raise at least $ 600,000. Brother Seet says he was very surprised by the assessment, but Ms Lim thinks that number is quite conservative and hopes she can increase more for the house, which caters to boys aged 14 and over. She adds: “There are small works that collectors can display in their homes.

Prices start from $ 4,800 for small works, numbering 29. The pieces cover all of Brother McNally’s practice from the 1970s to the 2000s, and showcase his versatility with mediums, including woodworking. bogs, metal and multimedia works incorporating glass and epoxy.

Mr. Fu says, “We will definitely approach institutions, but I wouldn’t be surprised if the larger works went to private collectors. A lot of people are very excited about this coming to the market.

Details of the auction will be available at 33 Auction site soon.


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Michael Lieberman, an appreciation of a wonderful human, great writer and dear friend

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Michael Lieberman, an appreciation of a wonderful human, great writer and dear friend

We lost a dear friend and contributor this summer. Michael Lieberman, who wrote for Artblog from 2014 to 2021, was loved by many, including his Artblog colleagues. We miss him.

Michael liebermann

In the seven years that Michael Lieberman wrote for Artblog, I had the privilege of being his editor. Michael wrote 83 reviews for us between 2014 and 2021, remarkable work – almost one post per month, which is a big production when you have a lot of other things in your life, like Michael did. He was an omnivorous art critic and wrote about paintings, films, books, and even Miami art fairs. He was interested in everything, large and small rooms, and he brought an open-mindedness and a sharp criticality, but gentle and helpful. Michael used the words as a painter would, with passion, confidence, accuracy and flair. He was a natural and empathetic art storyteller. His writings focused on human stories and he imbued his plays with a spirit of social justice. He was persuasive without being heavy, reactive and delicate in his critical touch. And, he was a lovable writer for an editor to work with: collegiate, a team member.

Below are some quotes from Michael’s reviews on Artblog. You can read all 83 on his author pages, and I recommend you dig into the rich offerings he has provided. It was a pleasure to work with Michael. We all really miss him.

Regarding paintings, Michael was poetic. About a group of abstract caricature works, he said:

they “defy gravity – they are lively and a little drunk”.

Not everyone could have found the word “drunk” to describe the art, but the word perfectly captured the sense of whimsy that Michael found in the works and it was a bold choice.

He saw a documentary film at the BlackStar Film Fest in 2017 on Ferguson, MO after the murder of 18-year-old Michael Brown by police officer Darren Wilson. About the films (which he loved for their human stories) his words were declarative and emphatic:

“I was thinking of the names – Brown and Wilson… Black and white. About the divisions between black and white communities in our country. While these divides may change as the country’s non-white population grows, “Whose Streets? Presents a profound demonstration of the unbearable and pernicious effects of racism and racial injustice on our society. When Officer Wilson made that racism-denying comment, the almost all-black audience at the BlackStar film screening I attended erupted in mockery. I wish there was a larger white contingent there to witness this.

People standing inside listening to someone speak.
Michael Lieberman, pictured here with Roberta, Catherine Rush and Carly Bellini, attending the ‘Philadelphia Assembled’ unveiling at PMA in 2017. Photo by Stephen Perloff https://www.photoreview.org/

Michel obituary

Written by Michael and his daughter

Michael Lieberman, 72, of Philadelphia, Pennsylvania. On July 29, 2021, Michael ended his 12-year battle with a rare, incurable form of cancer. He made his wish to see the end of our former president’s term come true, and he did so in the peace and comfort of his own home, surrounded by the love and admiration of the many lives he has had. affected during its vibrant life. Born of the late Benjamin and Ina Lieberman, his life was radiant. The impressive variety of his professional life shows us part of his remarkable journey: as a teenage lifeguard on the shores of Fire Island, as a clinical social worker after earning his Masters in Social Work at Smith College, as a clerk for the late Honorable John J. Gerry, former Chief Justice of the United States District Court for the District of New Jersey, as an attorney and shareholder of the former Philadelphia Law Firm known as Hangley, Aronchick Segal & Pudlin, as a gallerist in his own art gallery, Hooloon Art, in Old Philadelphia, as a writer and critic for The Art Blog and finally as member of the Rittenhouse Writer group where he wrote short fiction films. Thanks to his plethora of relationships, his impressive writings, and his deep devotion to his health and well-being, Michael lived a life of joyful vivacity. He will be remembered for his unusual and witty humor, his calming sensibility, his guiding wisdoms, his inspiring creativity, his eclectic and idiosyncratic thoughts and opinions, and his dedicated, passionate and intimately loving nature. He will be sorely missed, but let his life continue in us forever, most lovingly through his wife Judge Ashely M. Chan, through his two children, Sonia and Hannah Lieberman, through his stepchildren Simon and George Gottlieb , through Sonia and Hannah’s mother Nancy Winkleman, through his brothers Chet and Daniel Lieberman, through Daniel’s wife Michele Lieberman and their children Zach, Ruby and Dash and through the countless relationships he has forged in the process of road. In lieu of flowers or food, if you would like to make a contribution in her honor, please donate to Camphill Village Kimberton Hills through their website www.camphillkimberton.org or by cash or check to CKVH DevelopmentOffice, PO Box 1045 Kimberton , PA 19442. CKVH is a community for people with disabilities, home to Michael’s eldest daughter, Sonia. The services are private.

Group of people sitting and standing around a table with food on it, smiling for the camera.
Artblog writers meet at Cultureworks, Philadelphia, in the fall of 2016. Libby Rosof is seated. Front row left to right, Flora Ward, Martha Kearns, Roberta Fallon, Steve Kimbrough. In the back row, from left to right, Hammam Aldouri, Ron Kanter, Michael Lieberman, Donald Hunt, Andrea Kirsh, Evan Laudenslaber, Tina Plokarz, Ephraim Russell and his son August. Photo by Anna Gibertini


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Dallas-based Pakistani painter mixes art and food at PunjabiTex BBQ pop-up

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Mixed media artist Usama Khalid often addresses his dual identity in his paintings. He immigrated to Texas from Lahore, Pakistan as a child, and just completed his Masters of Fine Arts at Southern Methodist University in May.

“I’m going to Pakistan and I’m American,” Khalid says. “When I’m in Texas, I’m Pakistani. My work focuses on this duality.

His art challenges American misconceptions about Pakistan, but he realized that it only reached a select group of people. An artist using chest instead of paint may find a larger audience in Texas. So Khalid has been working on a barbecue fusion of Pakistan and Texas since his freshman year of graduate school in 2019. He now works in his kitchen as much as in his studio. .

“I wanted my art to include food so that it was accessible to everyone,” he said.

Through social practice, Khalid says his food is an extension of his art, and he notices similarities between cooking and painting.

“There are so many parallels,” he says. “Layering different ingredients with paint in mixed media or for the fusion of this cuisine, letting something sit in the stew for a minute or dry. The kitchen reminds me of the studio.

As a child, he was used to Pakistani barbecue, which was usually roast chicken, beef or lamb. But growing up in Texas, he fell in love with smoked meats like Pecan Lodge and Franklin Barbecue. He calls his fusion of Texas and Pakistani barbecue “Punjabtex,” to refer to the two geographic locations. Breast is king in Texas, so Khalid started out developing what he calls “Lahori’s Breast” over the past two years. It also works on prime rib and sausage.

Lahore Breast Breast Prepared by Chef Usama Khalid at a PunjabiTex Pop-Up BBQ at Sweet Pass Sculpture Park in Dallas
Lahore Breast Breast Prepared by Chef Usama Khalid at a PunjabiTex Pop-Up BBQ at Sweet Pass Sculpture Park in Dallas(Ben Torres / Special Contributor)

Inspired by popular flavor profiles in Pakistan, its spice blend includes a blend of peppers, garlic, cilantro, star anise, nutmeg and ginger. Khalid’s breast is very smooth and has a spicy side. This fusion kitchen item will appeal to Texans who prefer their peppery beef brisket.

On a recent Saturday night at Sweet Pass Sculpture Park in Dallas, Khalid debuted his Lahori Breast by offering a free meal with a menu that included kebabs, chicken biryani, samosas, and daal. Breast breast is often served with slices of bread or tortillas, but it also goes well with naan and roti. Khalid hosted the event inspired by langar, the South Asian tradition of providing food to the needy, regardless of their ethnic or religious background.

“We want to use the park to bring people together,” says Trey Burns, director of the sculpture park at Sweet Pass, who has agreed to let Khalid use his space. “Usama presented this as a social practice art project, and we love working with people who have just graduated from school. It’s interesting that an artist can kind of talk about his past with the food that “he decides to serve. This event was about his identity as a Pakistani Texan and the push and pull of that.”

Similar to the popular barbecues that all sell out, the free food pop-up had such a turnout that it ended two hours earlier when the food ran out. Khalid wants to have more pop-ups and maybe even open a restaurant someday, but for now, he wants to continue hosting free events in art spaces and working with nonprofits. Last year, he worked with a nonprofit, Central Arts, to help set up Central Fridge, a community refrigerator in Hurst.

“I want to create a sense of community with the food,” he says. “I would love to have a restaurant, but I really like the idea of ​​bringing it to art spaces because they are usually very exclusive. I want to change this with food.

Follow Khalid on Instagram at instagram.com/chaudhryusamaimran.

Caribbean's Shark Seafood offers grilled octopus with a stuffed potato filled with bacon, corn, cheese and peppers.
Daniel F., 28, left, and Abdelhalim Awadalla, 28, serve food at a PunjabiTex pop-up barbecue, run by chef Usama Khalid, at Sweet Pass Sculpture Park in Dallas.
Daniel F., 28, left, and Abdelhalim Awadalla, 28, serve food at a PunjabiTex pop-up barbecue, run by chef Usama Khalid, at Sweet Pass Sculpture Park in Dallas.(Ben Torres / Special Contributor)
Abdelhalim Awadalla, 28, eats chicken Biryani, Samosa and Seekh Kebab from a plate at a PunjabiTex pop-up barbecue, led by Chef Usama Khalid.
Abdelhalim Awadalla, 28, eats chicken Biryani, Samosa and Seekh Kebab from a plate at a PunjabiTex pop-up barbecue, led by Chef Usama Khalid.(Ben Torres / Special Contributor)
Chef Usama Khalid at a PunjabiTex pop-up barbecue at Sweet Pass Sculpture Park in Dallas on Saturday, August 14, 2021.
Chef Usama Khalid at a PunjabiTex pop-up barbecue at Sweet Pass Sculpture Park in Dallas on Saturday, August 14, 2021. (Ben Torres / Special Contributor)



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