Art

Opened in 1913, Grand Central Terminal is a world-famous landmark building with a magnificent 48-foot-high, 1,500-ton statuary group on top of the main facade.

Designed by sculptor Jules-Felix Coutan, a 13-foot-wide Tiffany clock serves as the centerpiece.The figure above the clock is Mercury, with Hercules to the left and Minerva to the right.In the late 1990s, a historic restoration was performed on the terminal after which two cast-iron eagle statues were placed over entrances at Lexington Avenue and Forty-Second Street/Vanderbilt Avenue.These eagles were from the 1898 Grand Central Station building that was demolished in 1910 to make room for the construction of the new Grand Central Terminal structure.Penn Station, which opened in 1910, covered two full city blocks and had statuary groups, designed by sculptor Adolph Weinman, on all four sides of the building.After Penn Station was demolished in the mid-1960s, the statuary was dispersed throughout various locations, mainly in the Northeast.

Take a seat in the front for a journey through the first 50 years of TV in Chicago. Many of the pioneering stations there defined the early years with innovation, personaility and programming.

The history of television in Chicago begins with the birth of the medium and is defined by the city's pioneering stations. WBKB (now WLS-TV) was the principal innovator of the Chicago School of Television, an improvisational production style that combined small budgets, personable talent, and the creative use of scenery and props. WNBQ (now WMAQ-TV) expanded the innovative concept to a wider audience via the NBC network. WGN-TV scored with sports and kids. Strong personalities drove the success of WBBM-TV. A noncommercial educational station, WTTW, and the city's first UHF station, WCIU, added diversity and ethnic programming. The airwaves in Chicago have been home to a wealth of talented performers and iconic programs that have made the city one of the country's greatest television towns. Chicago Television, featuring photographs from the archives of the Museum of Broadcast Communications (MBC) and the collections of local stations and historians, gives readers a front-row seat on a journey through the fi rst 50 years of Chicago television, 1940-1990. Founded in 1982 by broadcaster Bruce DuMont, the MBC Web site offers over 10,000 digital assets.

Detroit broadcasting history is rich with character . . . and characters.

It began atop the Penobscot Building on October 23, 1946, when WWDT shot a signal to the convention center, part of a ""New Postwar Products Exposition."" WWJ-TV offered scheduled programming in June 1947, and WXYZ-TV and WJBK-TV jumped in a year later. The medium has influenced the city's personality and social agenda ever since. Soupy Sales turned getting a pie in the face into an art form. Mort Neff celebrated the state's outdoor charms. George Pierrot showed Detroiters the world. Other beloved personalities include: Milky the Clown, Ed McKenzie, Sonny Eliot, John Kelly, Marilyn Turner, Robin Seymour, Bill Bonds, Dick Westerkamp, Jingles, Bill Kennedy, Lou Gordon, Captain Jolly, Johnny Ginger, Auntie Dee, and many more.

Cincinnati Television provides an informative entertaining look at Cincinnati's broadcast history through the images and stories of its participants.

Cincinnati has a distinguished television history. Beginning before WLW-T signed on the air in February 1948, its experimental station W8XCT broadcast from the 46th floor of the Carew Tower. WKRC-TV and WCPO-TV signed on in 1949, WCET in 1954, and WXIX-TV in 1968. Since then, television has become part of the family.

Uncle Al, Skipper Ryle, Batty Hattie from Cincinnati, the Cool Ghoul, Peter Grant, Al Schottelkotte, Nick Clooney, Ruth Lyons, Paul Baby, Bob Braun, and Jerry Springer visited Cincinnati living rooms on television. Remember Midwestern Hayride, TV Dance Party, PM Magazine, Juvenile Court, Young People's Specials, Lilias, Dotty Mack, Bob Shreve, Mr. Hop, Bean's Clubhouse, The Last Prom, and Ira Joe? They are part of the collective Cincinnati history, part of the Cincinnati culture, and part of the Cincinnati family.

Jim Friedman is a Cincinnati native and resident wordsmith who has created television shows since 1979. He has won 56 regional Emmy Awards for writing, directing, and producing television shows for WCPO-TV, WKRC-TV, WLWT, WXIX, and WCET. He created The Celebrate Series, The Dooley Show, Everyday Freedom Heroes, and the Dreambuilder movies. In Cincinnati Television, he shares memories from in front of the camera, behind the scenes, and all over town.

The history of Philadelphia television is the history of television in America. Philo Farnsworth, credited with inventing television, performed some of his earliest experiments at the Franklin Institute and at 1230 Mermaid Lane. Those experiments led to the city's first television station, W3XE. Channel 3 was also the first local station in the country to broadcast in color. WCAU-TV Channel 10 constructed the first building in the world designed specifically as a television station. WFIL created one of the most iconic shows in television history, American Bandstand, as well as Action News, which has helped Channel 6 stay on top of the ratings for most of the last 40 years. Dick Clark, Ed McMahon, Ernie Kovacs, Tom Snyder, David Brenner, Maury Povich, Kelly Ripa, Brian Williams, and others are among those who have worked in Philadelphia television throughout its history.

The oldest capital city in the United States is Santa Fe, which has a rich and varied cultural history as well as the oldest public building still in use. Ancestral Puebloan Indians inhabited the area as early as 500 AD, and Spanish explorers arrived in the early 1540s. When Mexico gained independence from Spain, Santa Fe became the capital of Nuevo Mejico. It was not until 1912 that New Mexico achieved statehood. In the late 19th century, the Southwest became a haven for tuberculosis patients, and a number of sanatoriums were built in Santa Fe. Many creative individuals, including poets, artists and architects, stayed and significantly contributed to the city's cultural and architectural development. In 2005, Santa Fe received the distinction of being the first America community to be designated a "Creative City" by UNESCO.

Founded in 1881, the Cincinnati Art Museum is one of the oldest art museums in the United States. Public art museums were still rare, especially as far west as Cincinnati. But the city had emerged as a thriving cultural center and calls for an art museum grew, led by the passionate and determined members of the Women's Art Museum Association. Thanks largely to their efforts, a public subscription attracted the contributions required for construction to begin. Eden Park, which overlooked downtown Cincinnati and the Ohio River valley, was chosen as the site for the museum. When it finally opened in May 1886, the museum was described as a gift of the people for the people, acknowledging the crucial role Cincinnatians had played in its establishment. The original building now has eight additional wings; the collection boasts 66,000 works of art, which span 6,000 years of human history; and the museum has inspired and educated generations.

Since 1925, the John C. Campbell Folk School has invited people to explore their creative potential in the serene setting of Brasstown, North Carolina. Those pursuits began with education, agriculture, and traditional Appalachian crafts, including wood carving and blacksmithing. One hundred years later, the school expanded into more than 50 subject areas, from cooking and clay to shoemaking and stained glass. Friends and cofounders Olive Dame Campbell and Marguerite Butler were influenced by the Danish folkehøjskole, or “folk high school,” and set out to create a similar opportunity in Appalachia where learning would be noncompetitive and meals would be communal. The folk school has provided the foundation for the internationally recognized Brasstown Carvers, created a music and dance program with regular offerings for concerts and contras, and now welcomes thousands of students while holding over 800 weeklong and weekend classes per year. 

It continues to be, as Olive once described, “an experiment in adult education” that seeks to enliven and enlighten the world. 

Kitty Taylor served as the programs development manager and creative program advisor for writing. She selected photographs and materials from the Fain Archives to provide a glimpse at the John C. Campbell Folk School’s first 100 years. 

In 1949, when the first television station in Indianapolis was about to go on the air, R.K. Shull, the venerated television columnist for the Indianapolis Times and Indianapolis News, said, "Channel 6 has laid plans for the biggest possible attention-grabbing debut a TV station could make in Indianapolis . . . live coverage of the Indianapolis 500-mile race." Only three cameras covered the entire track, but the audience at the time was not very discriminating. Before networks had full-time programming, casts and crews experimented with the new medium in full view of the audience. Even after the networks began to monopolize programming, a number of local personalities became viewer favorites. David Letterman decided to have fun with the weather. Jane Pauley refused to cut her long locks, so her entire face was seldom seen on location in windy weather. George Willeford made fun of the movies he was introducing. Frank Edwards had his dog sitting on his desk during his newscast. Debbie Drake started her own daily exercise show, which was later nationally syndicated.

Between 1910 and 1921, the American Film Company was one of the fledgling movie industry's most successful studios, with production facilities in Santa Barbara and business offices in Chicago. Nicknamed for its distinctive winged "A" logo, the "Flying A" produced nearly 1,200 films, starring such favorites of the day as Mary Miles Minter, J. Warren Kerrigan, Wallace Reid, and King Baggot. The company's rather patriotic motto invited patrons to "See Americans first." The studio's films also documented the picturesque and developing Pacific seaside community of Santa Barbara and served as a training ground for some of Hollywood's greatest directors, including Allan Dwan, Henry King, Victor Fleming, Frank Borzage, George Marshall, William Desmond Taylor, and Marshall Neilan.

Railroad and shipyard heir Archer Milton Huntington and his sculptor wife, Anna Hyatt Huntington, bought four former rice plantations on the northeastern coast of South Carolina in 1930 to create a winter home. The special nature of the 9,000-acre property, stretching from the Atlantic Ocean to the Waccamaw River, prompted the couple to establish Brookgreen Gardens, the first public sculpture garden in America and a sanctuary for southeastern plants and animals. Archer Huntington's passion for the history and culture of Spain was shown in the home he designed. Inspired by the Moorish architecture of Spain and northern Africa, Atalaya was not the usual millionaire's beach resort, although it provided an economic boon to the area. The home was a retreat while Anna recuperated from tuberculosis and Archer continued his business and philanthropic interests. Today, Atalaya is part of Huntington Beach State Park where visitors tour the home with a docent or an audio tour and are intrigued by its design and the legacy of the Huntingtons.

The acclaimed artist and architect shares a strolling, personal tour of a city that has become his creative muse and home away from home.

 

Over the years, Danish architect and artist Mikael Olrik has developed a special relationship with New York City, finding endless inspiration in the vibrant and ever-changing metropolis. In Walks in My New York, Olrik shares his fascinating perspective on New York life through a combination of watercolor, photography and text.

 

Olrik explores the city with the broad view of an architect, the specificity of an artist, the straight-forwardness of a photographer, and the companionable text of a diarist. He captures everything from street scenes of everyday life to pastoral views of Central Park and landmarks such as the Empire State Building and the Brooklyn Bridge. Small maps accompany each entry and act as a sort of ‘GPS’ in print.

Authors Deb Schillo and Barbara Miller take the reader through the fascinating history of the Southern Highland Craft Guild through a series of charming images and narratives of the craftspeople and artists throughout the 20th and into the 21st century that have made the Guild the world-renown cultural staple that it is today.

The Southern Highland Craft Guild is the oldest craft guild in the United States and the only guild to be defined by a geographical area. First conceived by Olive Dame Campbell in the 1920s, the craft guild was launched in 1930 with an exhibition of regional arts. Frances Louisa Goodrich contributed her Allanstand Shop so that families living in an already depressed region would have a sales venue for their work throughout the Great Depression and the years of World War II. From that early start, the Southern Highland Craft Guild has grown to nearly a thousand members and has established a worldwide reputation for fine workmanship. The guild is governed by the artist membership, which is made up of a wide range of craftspeople from institute-trained artists to local makers trained by parents and friends. Deb Schillo served as the guild's librarian and archivist for 20 years. Barbara Miller juried into the guild in 1965 and is still an active member, having served on the board and numerous committees. The authors have selected a sampling of the thousands of photographs and materials from the archives of the Southern Highland Craft Guild to provide a glimpse at some of the people and places that contributed to where the guild is today.

For generations, movies and television have been sources of entertainment that have shaped the country's consciousness. Washington, DC, Film and Television chronicles popular and obscure films and television programs that feature Washington, DC. Sharing the sites, neighborhoods, institutions, and monuments that filmmakers used as their settings, this exciting title takes readers behind the scenes of classic movies, including Mr. Smith Goes to Washington, Houseboat, and The Exorcist. Familiar television programs that transmitted local news and information are featured alongside photographs of some of Hollywood's greatest stars. With the nation's capital as a backdrop, the landscape, architecture, and history of Washington have always and will continue to make it an aesthetically exciting and authentic locale for the many story lines of Hollywood.