Eileen Gray: Le Corbusier Or Frank Lloyd Wright

Fran admired and collected other artist’s work for her home, but also as part of her trove of infinite objects that often made their way into her art. From the mad jumble of countless boxes and bags in her studio came often playful “bricolage” works of beauty, humor and imagination. She taught for many years at the New Jersey Center for the Visual Arts, the Newark Museum and was actively teaching until just weeks before her death last year. An award-winning artist, she exhibited at the Museum of Modern Art, the Smithsonian, Victoria and Albert Museum, and in galleries throughout New Jersey. She began her eight-decade career as a fashion designer before moving into painting, printmaking, found art sculpture, book and paper making, and other multi-media arts. Fran studied art at the American School of Fine Arts, Newark School of Fine Arts, and Fairleigh Dickinson University. The works in this exhibition were generously donated by Fran’s family to The 1978 Maplewood Arts Center. Proceeds from all sales will benefit the center as well as public art in the

In the article, “Where Are the Women? Measuring Progress on Gender in Architecture,” transcribed by Lian Chikako Chang deliberates the decrease of women’s representation in the area of architecture. Starting at the bottom of the ladder, female architecture students make up a bit more than forty percent of the total enrolled students. In order for those students to become licensed architects, they have to partake in the Architect Registration Examination (ARE), Development Program (IDP), and the National

A review of the world’s great artists conjures familiar images: Michelangelo’s Sistine Chapel; Vincent Van Gogh’s Starry Night; Pablo Picasso’s The Tragedy. There are many more, of course: Monet, Moya, Warhol, Rembrandt, Kandinsky. What is immediately noticeable, however, upon any brief study of art, is the significant absence of women as heralded artists—not only in our ancient pasts, but even today, amongst valiant efforts for gender equality.

Celebrated artists Elisabeth Louise Vigee Le Brun and Marianne Von Werefkin have contributed to the evolution of two different art styles and the appreciation of female artists. Le Brun’s Self Portrait in a Straw Hat exemplifies the prominence of Neoclassicism and the Rococo movement during eighteenth century France. Von Werefkin established herself as an Expressionist in her Self Portrait in the rise of the twentieth century. Both representational pieces provide the viewer with a candid insight into the temperament of each artist, reflecting their artistic influences and the time period in which the artworks were created. Consequently this has affected their application of colour, tone and composition, creating two distinctive self portraits.

After her initial award, this then led Gray to find a directing role within the store Habitat, where she leant how the global retail world works and operates. After several years, she left her job in pursue of her passion, starting her own eponymous studio in 2008. Collaboration with other businesses soon became the main focus of Gray’s work, as she designed best-selling collections and high-profile pieces, only seen in some of the world’s most luxury stores, including Lane Crawford, Liberty and Harrods. Gray has also held an exhibition in London by the name of “Inside Design”. The exhibition mainly focused on her recent work in natural materials and resources. It allowed visitors an insight into Gray’s approach to her craft, breaking down the work and motivation that goes into her designs. More recently, Gray has received a new award of “Best British Designer” for 2013/2014, as well as appearing in countless articles of magazines, ranging from the Daily Telegraph to Alto, a luxury design

Who is Annie Easley? Maybe she was one of the four African Americans to work for NASA out of 2,500 employees. Or maybe she was a human computer, a mathematician, or a math technician? Who was Annie Easley?

Cathy Barnett, a 50 year old mother with 3 kids, didn't have many issues getting from high school to college. She felt she had more responsibility at 16 having a car, bank account, and job. Her goal in high school and college was to try and get the highest GPA. That lead her to college with a 3.6 GPA and finishing college with a 3.2 GPA. She went to the community college of the Air Force. She joined the air force because she a got the travel bug when visiting a friend in England and Spain. When she got in the community college of the Air Force she took airway science and some nursing. Her transition from the Air Force to working at a Fred Meyers and starbucks years later. It was a big difference telling planes where to go than working in a deli and Starbucks but, she was still the happiest mom at home while staying busy at work.

Throughout American history, people have been categorized based on what gender they are, and what their race is. In order to explore these ideas and come to terms with their importances many musicians, film makers, and authors have described the inner-workings of this societal construct. Indeed, both racial and female identities have been at the epicenter of many works of art throughout American culture as can be seen in: Maggie: A Girl of the Streets by Stephen Crane, film “Modern Times,” Bessie Smith’s “T’ain’t Nobody’s Bizness If I Do,” and James Weldon Johnson’s Autobiography of an Ex-Colored Man.

Entering the fourth quarter 27th seeded Somers trailed 19th seeded Bloomfield by 18 points in the CIASC Class S girl’s basketball quarterfinal. Somers junior guard Emily Plagenza, who already hit a game winning buzzer beater to upset 6th seeded Old Lyme in the first round followed by a 20 point game in a second round win, was not going down without a fight. Plagenza put Somers on her back scoring 16 fourth quarter points to bring her team within one possession of advancing to the semi-finals. Somers wound up losing that game 64-61 but it is the toughness and determination that Plagenza displayed that would lead her into a career in sport.

“Awe…” said Mary as she emerged from the bus to see it happen. “Why don’t you ever treat me like that, Lovie?”

She motivated the artists that participated in the Feminist Art Movement (“Georgia O’Keeffe,” n.d.). Judy Chicago and Miriam Shapiro were some innovators who saw Georgia’s opposing meanings (“Georgia O’Keeffe,”

In 1889 Dorothy Draper was born to a wealthy and privileged family, during one of the most exclusive communities in the American history. Dorothy Draper was the first to professionalize the interior design and in 1923 established the first interior design company in the united states. During this time, it was unheard of, and also at this time it was considered daring for woman to go in the business. Carleton Varney wrote in his biography of his mentor. The Draper touch, was her way of revolutionized from breaking away from the historical term “period room” styles that dominated her work predecessors and contemporaries.

In her article, Denise Scott Brown brings to light her personal experience as being a female architect and the sexism that she had come across. Brown describes how sexism is not outright, as she states that many young female architects do not understand the need for the feminist movement as they had never experienced such sexism in school. Rather, sexism appeared through the words of architecture critics, in meetings, and architectural magazines.

Before the end of my second year at Rensselaer Polytechnic Institute School of Architecture, I began to ponder on the possibility of quitting architecture. It was a convoluted time of uncertainty; I wasn’t sure whether I was prepared to become an architect and take on the responsibility and commitment to better the built environment. Nevertheless, I decided to give myself one last shot at architecture before giving up – I accepted the internship offer from MAD Architects in Beijing, China. There, I got to meet many young architects

The incredible work of these Modernist architects had a strong and distinct influence on up and coming young Australian Architects during the 1950’s – 1970’s.