Word: holger
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...attack into a dozen important museums. Manhattan's Museum of Modern Art has adopted a policy of exhibiting industrial design, has added architecture. Most important of all, John Cotton Dana's social philosophy of art inspired the nation's first Federal Art Project through its director, Holger Cahill, who worked under Dana from...
Every experiment in art is a collaboration between artist and layman. Artists now realize this. For the artist, as Holger Cahill wrote, "a new concept of social loyalty and responsibility, of the artist's union with his fellow men in origin and destiny, seems to be replacing the romantic concept of nature which for so many years gave to artists and to many others a unifying approach to art . . . an end seems to be in sight to the kind of detachment which removed the artist from common experience, and which at its worst gave rise to an art merely...
...golden numbers of New York World's Fair publicity was any mention of contemporary art. Outraged artists last year made a stink about this, persuaded Fair President Grover Aloysius Whalen to make room for an art exhibition under the seasoned direction of the Federal Art Project's Holger Cahill (TIME, April 25). Since then a modest, good-looking building has gone up and U. S. artists and museum directors have gone ahead with a national competition to select 800 works...
...hair done high and sculptural, Hostess Edith Gregor Halpert of the Downtown Gallery swept busily from guest to guest: gentle Alfred Barr Jr., director of the Museum of Modern Art; frosty-headed "Grouch" Goodyear, the museum's president; Mrs. Juliana Force, redoubtable director of the Whitney Museum; sunny Holger Cahill, director of the Federal Art Project; big, Indian-looking Artist Eugene Speicher, burly, blue-eyed Reginald Marsh, bright-eyed, skimpy-chinned Peggy Bacon, melancholy Morris Kantor, spindly Charles Sheeler...
...himself a remarkably astute social engineer. His first move was to make hefty, dark-eyed, Thomas C. Parker of Richmond, Va., his Assistant and Regional Director for the South. Parker, like Cahill, was devoted to the idea of building up community art centres. They began in the South, where Holger Cahill had observed the greatest need. The First Federal-sponsored community centre was started by Director Parker in Raleigh, N. C., in January 1936. Since then Assistant Parker, operating from his office in the Project's old building on Washington's G Street, has planned and planted centres...