Coit Tower Politics - Revision history

Ccarlsson: Protected "Coit Tower Politics": complete essay [edit=sysop:move=sysop]

2008-12-26T07:05:24Z

Protected "Coit Tower Politics": complete essay [edit=sysop:move=sysop]

← Older revision	Revision as of 00:05, 26 December 2008
(No difference)

Ccarlsson: PC

2008-12-26T07:04:35Z

← Older revision		Revision as of 00:04, 26 December 2008
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			'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

			''by Masha Zakheim Jewett''

	[[Image:art1$coit-library.jpg]]		[[Image:art1$coit-library.jpg]]

Ccarlsson: fixed misattribution (Zakheim, not Arnautoff on Library Mural)

2008-12-26T01:56:45Z

fixed misattribution (Zakheim, not Arnautoff on Library Mural)

← Older revision		Revision as of 18:56, 25 December 2008
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	[[Image:art1$coit-library.jpg]]		[[Image:art1$coit-library.jpg]]

	'''Coit Tower Mural (Library by ~~Victor Arnautoff~~)'''		'''Coit Tower Mural (Library by Bernard Zakheim)'''

	With great enthusiasm, the artists went to work at Coit Tower at the beginning of January 1934. An editorial in the ''San Francisco Chronicle ''noted that the San Francisco artists displayed "tranquility in striking contrast to the skirmishes" in New York and other cities. On January 16, Col. Harold Mack, representing the regional committee, wrote to Edward Rowan, a national director of PWAP, that the first and second floors of the Tower had been sandblasted and plastered and awaited the frescoes to be executed by "twenty-six master artists and ten helpers." By the end of the month, Forbes Watson, technical director in Washington, was writing to Dr. Heil stating that he was "perfectly sure the PWAP would approve of the work going forward." Both the sketches and proposed method of organization struck him as "having as fine possibilities as any project under way in any part of the country." He ended by saying that the regional committees rather than the national office would be the final arbiters" because they "know so much more about the conditions in their regions."		With great enthusiasm, the artists went to work at Coit Tower at the beginning of January 1934. An editorial in the ''San Francisco Chronicle ''noted that the San Francisco artists displayed "tranquility in striking contrast to the skirmishes" in New York and other cities. On January 16, Col. Harold Mack, representing the regional committee, wrote to Edward Rowan, a national director of PWAP, that the first and second floors of the Tower had been sandblasted and plastered and awaited the frescoes to be executed by "twenty-six master artists and ten helpers." By the end of the month, Forbes Watson, technical director in Washington, was writing to Dr. Heil stating that he was "perfectly sure the PWAP would approve of the work going forward." Both the sketches and proposed method of organization struck him as "having as fine possibilities as any project under way in any part of the country." He ended by saying that the regional committees rather than the national office would be the final arbiters" because they "know so much more about the conditions in their regions."

Ccarlsson at 01:46, 18 November 2008

2008-11-18T01:46:07Z

← Older revision		Revision as of 18:46, 17 November 2008
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	[[Coit Tower National Historic Site\|Coit Tower loop]]		[[Coit Tower National Historic Site\|Coit Tower loop]]

	<embed src="http://www.archive.org/flow/FlowPlayerLight.swf" allowfullscreen="true" allowscriptaccess="always" quality="high" type="application/x-shockwave-flash" pluginspage="http://www.adobe.com/go/getflashplayer" bgcolor="ffffff" flashvars="config={"controlBarBackgroundColor":"0x000000","loop":false,"baseURL":"http://www.archive.org/download/","showVolumeSlider":true,"controlBarGloss":"high","playList":[{"url":"TheIndispensableNewDeal/Nov12IndispensableNewDeal.mp3"}],"showPlayListButtons":true,"usePlayOverlay":false,"menuItems":[false,false,false,false,true,true,false],"initialScale":"scale","autoPlay":false,"autoBuffering":false,"showMenu":false,"showMuteVolumeButton":true,"showFullScreenButton":false}" width="350px" height="28px">

	[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]		[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]

	[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Murals]]		[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Murals]]

Ccarlsson at 01:45, 18 November 2008

2008-11-18T01:45:33Z

← Older revision		Revision as of 18:45, 17 November 2008
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	[[Coit Tower National Historic Site\|Coit Tower loop]]		[[Coit Tower National Historic Site\|Coit Tower loop]]

			<embed src="http://www.archive.org/flow/FlowPlayerLight.swf" allowfullscreen="true" allowscriptaccess="always" quality="high" type="application/x-shockwave-flash" pluginspage="http://www.adobe.com/go/getflashplayer" bgcolor="ffffff" flashvars="config={"controlBarBackgroundColor":"0x000000","loop":false,"baseURL":"http://www.archive.org/download/","showVolumeSlider":true,"controlBarGloss":"high","playList":[{"url":"TheIndispensableNewDeal/Nov12IndispensableNewDeal.mp3"}],"showPlayListButtons":true,"usePlayOverlay":false,"menuItems":[false,false,false,false,true,true,false],"initialScale":"scale","autoPlay":false,"autoBuffering":false,"showMenu":false,"showMuteVolumeButton":true,"showFullScreenButton":false}" width="350px" height="28px">

	[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]		[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]

	[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Murals]]		[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Murals]]

Ccarlsson at 23:29, 26 August 2008

2008-08-26T23:29:54Z

← Older revision		Revision as of 16:29, 26 August 2008
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	All photos of the murals were taken by Don Beatty.		All photos of the murals were taken by Don Beatty.

			[[Coit Tower National Historic Site\|Coit Tower loop]]

	[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]		[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]

	[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Murals]]		[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Murals]]

Ccarlsson at 23:25, 26 August 2008

2008-08-26T23:25:34Z

← Older revision		Revision as of 16:25, 26 August 2008
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	'''Ralph Stackpole's panel on the Industries of California'''		'''Ralph Stackpole's panel on the Industries of California'''

	However, the work at Coit Tower proceeded with few problems. In Suzanne Scheur's panel called ''News gathering'', her window ledge ''San Francisco Chronicle'' front page announces the end of the art project in April, though some artists continued to add finishing details until June. As the project drew to a close, San Francisco's Mayor Angelo Rossi asked that the opening of the showplace be set for July 7, 1934.		However, the work at Coit Tower proceeded with few problems. In Suzanne Scheur's panel called ''News gathering'', her window ledge ''San Francisco Chronicle'' front page announces the end of the art project in April, though some artists continued to add finishing details until June.

			[[Image:Coit sfchron apr34.jpg]]

			As the project drew to a close, San Francisco's [[Mayor Angelo Rossi\|Mayor Angelo Rossi]] asked that the opening of the showplace be set for July 7, 1934.

	'''The Political Climate '''		'''The Political Climate '''
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	However, it was the work of Clifford Wight, a former assistant to [[Diego Rivera in San Francisco\|Diego Rivera]], that received the greatest censure. Wight had pointed two tall figures--a surveyor and a steelworker--on either side of a large window. Although the controversial part of his fresco is gone today, Junius Cravens, a contemporary critic, described what used to be there. Commenting on Wight's symbolizing some of the social and political problems of the time, Cravens said:		However, it was the work of Clifford Wight, a former assistant to [[Diego Rivera in San Francisco\|Diego Rivera]], that received the greatest censure. Wight had pointed two tall figures--a surveyor and a steelworker--on either side of a large window. Although the controversial part of his fresco is gone today, Junius Cravens, a contemporary critic, described what used to be there. Commenting on Wight's symbolizing some of the social and political problems of the time, Cravens said:

	Over the central window [Wight] stretched a bridge, at the center of which is a circle containing the Blue Eagle of the NRA. Over the right-hand window he stretched a segment of chain; in the circle in this case appears the legend, "In God We Trust" -- symbolizing the American dollar, or I presume, Capitalism. Over the left-hand window he placed a section of woven cable and a circle framing a hammer, a sickle, and the legend "United Workers of the World" [sic; i.e., "Workers of the World, Unite"], in short, Communism.		''Over the central window [Wight] stretched a bridge, at the center of which is a circle containing the Blue Eagle of the NRA. Over the right-hand window he stretched a segment of chain; in the circle in this case appears the legend, "In God We Trust" -- symbolizing the American dollar, or I presume, Capitalism. Over the left-hand window he placed a section of woven cable and a circle framing a hammer, a sickle, and the legend "United Workers of the World" [sic; i.e., "Workers of the World, Unite"], in short, Communism.''

			[[Image:Coit hammer-and-sickle.jpg]]

			'''This is how the local press depicted the controversial Clifford Wight fresco in Coit Tower. It was whitewashed.'''

	In addition to Cravens's information, McKinzie adds, in 1973, the following details: ''Wight had labeled the three panels "Rugged Individualism," "The New Deal," and "Communism," apparently as various economic alternatives for the 1930s. Unlike all the other designs, which Dr. Heil had approved long before execution, Wight's had gone to Arnautoff directly on the job, where Arnautoff, in his capacity as project director, had approved them. ''		In addition to Cravens's information, McKinzie adds, in 1973, the following details: ''Wight had labeled the three panels "Rugged Individualism," "The New Deal," and "Communism," apparently as various economic alternatives for the 1930s. Unlike all the other designs, which Dr. Heil had approved long before execution, Wight's had gone to Arnautoff directly on the job, where Arnautoff, in his capacity as project director, had approved them. ''

Ccarlsson at 00:02, 11 August 2008

2008-08-11T00:02:23Z

← Older revision		Revision as of 17:02, 10 August 2008
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	Concerned now about the spread of incidents like the obliteration of the Rivera mural, the artists cited frightening examples from Europe of growing repression and censorship in Germany, France, and Austria. More than one newspaper headline chronicling all these events appear in the paintings at Coit Tower. Even the artists' February meeting has become part of the permanent record: Vidar's newspaper in his mural notes the occasion, and in Zakheim's mural Ralph Stackpole reads a newspaper whose lead proclaims, "Local Artists Protest Destruction of Rivera's Fresco."		Concerned now about the spread of incidents like the obliteration of the Rivera mural, the artists cited frightening examples from Europe of growing repression and censorship in Germany, France, and Austria. More than one newspaper headline chronicling all these events appear in the paintings at Coit Tower. Even the artists' February meeting has become part of the permanent record: Vidar's newspaper in his mural notes the occasion, and in Zakheim's mural Ralph Stackpole reads a newspaper whose lead proclaims, "Local Artists Protest Destruction of Rivera's Fresco."

			[[Image:Art1%24coit-tower-politics%24stackpole_itm%24coit-industries-of-california.jpg]]

			'''Ralph Stackpole's panel on the Industries of California'''

	However, the work at Coit Tower proceeded with few problems. In Suzanne Scheur's panel called ''News gathering'', her window ledge ''San Francisco Chronicle'' front page announces the end of the art project in April, though some artists continued to add finishing details until June. As the project drew to a close, San Francisco's Mayor Angelo Rossi asked that the opening of the showplace be set for July 7, 1934.		However, the work at Coit Tower proceeded with few problems. In Suzanne Scheur's panel called ''News gathering'', her window ledge ''San Francisco Chronicle'' front page announces the end of the art project in April, though some artists continued to add finishing details until June. As the project drew to a close, San Francisco's Mayor Angelo Rossi asked that the opening of the showplace be set for July 7, 1934.

Ccarlsson at 23:40, 10 August 2008

2008-08-10T23:40:19Z

← Older revision		Revision as of 16:40, 10 August 2008
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	[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]		[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]

	[[category:Public Art]] [[~~categoroy~~:1930s]] [[category:North Beach]] [[category:Murals]]		[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Murals]]

Ccarlsson at 23:39, 10 August 2008

2008-08-10T23:39:35Z

← Older revision		Revision as of 16:39, 10 August 2008
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	[[Image:art1$coit-library.jpg]]		[[Image:art1$coit-library.jpg]]

	Coit Tower Mural (Library by Victor Arnautoff)		'''Coit Tower Mural (Library by Victor Arnautoff)'''

	With great enthusiasm, the artists went to work at Coit Tower at the beginning of January 1934. An editorial in the ''San Francisco Chronicle ''noted that the San Francisco artists displayed "tranquility in striking contrast to the skirmishes" in New York and other cities. On January 16, Col. Harold Mack, representing the regional committee, wrote to Edward Rowan, a national director of PWAP, that the first and second floors of the Tower had been sandblasted and plastered and awaited the frescoes to be executed by "twenty-six master artists and ten helpers." By the end of the month, Forbes Watson, technical director in Washington, was writing to Dr. Heil stating that he was "perfectly sure the PWAP would approve of the work going forward." Both the sketches and proposed method of organization struck him as "having as fine possibilities as any project under way in any part of the country." He ended by saying that the regional committees rather than the national office would be the final arbiters" because they "know so much more about the conditions in their regions."		With great enthusiasm, the artists went to work at Coit Tower at the beginning of January 1934. An editorial in the ''San Francisco Chronicle ''noted that the San Francisco artists displayed "tranquility in striking contrast to the skirmishes" in New York and other cities. On January 16, Col. Harold Mack, representing the regional committee, wrote to Edward Rowan, a national director of PWAP, that the first and second floors of the Tower had been sandblasted and plastered and awaited the frescoes to be executed by "twenty-six master artists and ten helpers." By the end of the month, Forbes Watson, technical director in Washington, was writing to Dr. Heil stating that he was "perfectly sure the PWAP would approve of the work going forward." Both the sketches and proposed method of organization struck him as "having as fine possibilities as any project under way in any part of the country." He ended by saying that the regional committees rather than the national office would be the final arbiters" because they "know so much more about the conditions in their regions."
Line 15:		Line 15:
	Concerned now about the spread of incidents like the obliteration of the Rivera mural, the artists cited frightening examples from Europe of growing repression and censorship in Germany, France, and Austria. More than one newspaper headline chronicling all these events appear in the paintings at Coit Tower. Even the artists' February meeting has become part of the permanent record: Vidar's newspaper in his mural notes the occasion, and in Zakheim's mural Ralph Stackpole reads a newspaper whose lead proclaims, "Local Artists Protest Destruction of Rivera's Fresco."		Concerned now about the spread of incidents like the obliteration of the Rivera mural, the artists cited frightening examples from Europe of growing repression and censorship in Germany, France, and Austria. More than one newspaper headline chronicling all these events appear in the paintings at Coit Tower. Even the artists' February meeting has become part of the permanent record: Vidar's newspaper in his mural notes the occasion, and in Zakheim's mural Ralph Stackpole reads a newspaper whose lead proclaims, "Local Artists Protest Destruction of Rivera's Fresco."

	However, the work at Coit Tower proceeded with few problems. In Suzanne Scheur's panel called ''~~Newsgathering~~'', her window ledge ''San Francisco Chronicle'' front page announces the end of the art project in April, though some artists continued to add finishing details until June. As the project drew to a close, San Francisco's Mayor Angelo Rossi asked that the opening of the showplace be set for July 7, 1934.		However, the work at Coit Tower proceeded with few problems. In Suzanne Scheur's panel called ''News gathering'', her window ledge ''San Francisco Chronicle'' front page announces the end of the art project in April, though some artists continued to add finishing details until June. As the project drew to a close, San Francisco's Mayor Angelo Rossi asked that the opening of the showplace be set for July 7, 1934.

	'''The Political Climate '''		'''The Political Climate '''
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	The California Art Research Project of 1937 explains that "in order to arouse public opinion against the striking workers a campaign of terror and Red baiting was resorted to." As part of that campaign, the newspapers decided to make a political example of the art of Coit Tower, which as a government-funded undertaking could conceivably be called "socialistic," or in any event, pro-labor. Certain members of the press had come to view the murals and were quick to see the possibilities of fomenting a scandal for "pure sensationalism," as the artists saw it, isolating out of context several details from four frescoes on the first floor.		The California Art Research Project of 1937 explains that "in order to arouse public opinion against the striking workers a campaign of terror and Red baiting was resorted to." As part of that campaign, the newspapers decided to make a political example of the art of Coit Tower, which as a government-funded undertaking could conceivably be called "socialistic," or in any event, pro-labor. Certain members of the press had come to view the murals and were quick to see the possibilities of fomenting a scandal for "pure sensationalism," as the artists saw it, isolating out of context several details from four frescoes on the first floor.

			[[Image:Close-up on Coit Tower mural papers.jpg]]

	'''The Errant Artists '''		'''The Errant Artists '''

	First, news-hungry reporters noticed that three of the four Son Francisco ~~doilies~~ in Victor Arnautoff's scene called [[Coit Tower \| City Life]] were depicted on the newsstand, with the glaring omission of the ''San Francisco Chronicle'', although a space was obviously allotted for it. The Artists' and Writers' Union retorted, with some amusement, that Arnautoff attributed his omission to the prominence of the ''Chronicle'' in Zakheim's (and presumably Scheuer's) work--hence he had felt no need for further repetition. Even more galling to the local press was Arnautoff's inclusion, on another rack, of two far-left publications, ''The New Masses'' and ''The Daily Worker''.		First, news-hungry reporters noticed that three of the four Son Francisco dailies in Victor Arnautoff's scene called [[Coit Tower \| City Life]] were depicted on the newsstand, with the glaring omission of the ''San Francisco Chronicle'', although a space was obviously allotted for it. The Artists' and Writers' Union retorted, with some amusement, that Arnautoff attributed his omission to the prominence of the ''Chronicle'' in Zakheim's (and presumably Scheuer's) work--hence he had felt no need for further repetition. Even more galling to the local press was Arnautoff's inclusion, on another rack, of two far-left publications, ''The New Masses'' and ''The Daily Worker''.

			[[Image:John l howard california industrial life detail.jpg]]

	Next, John Langley Howard in California Industrial Life also represented the left-wing press by painting a miner reading the ''Western Worker'', a large group of militant unemployed workers with a black man in the foreground, and "the angry faces of some gold panners glaring at some tourists" who were standing near their limousine, chauffeur and lap dog juxtaposed with a broken-down Model T Ford and a gaunt mongrel.		Next, John Langley Howard in California Industrial Life also represented the left-wing press by painting a miner reading the ''Western Worker'', a large group of militant unemployed workers with a black man in the foreground, and "the angry faces of some gold panners glaring at some tourists" who were standing near their limousine, chauffeur and lap dog juxtaposed with a broken-down Model T Ford and a gaunt mongrel.

			[[Image:Art1%24coit-tower-library-detail.jpg]]

	In his ''Library'', Bernard Zakheim seemed to invite rebuke with more radical newspapers and especially a reader (ironically, he depicted fellow artist John Langley Howard) reaching for ''Das Kapital'' by Karl Marx; on other shelves were books written by such proletarian authors as Erskine Caldwell, Grace Lumpkin, and Maxim Gorky.		In his ''Library'', Bernard Zakheim seemed to invite rebuke with more radical newspapers and especially a reader (ironically, he depicted fellow artist John Langley Howard) reaching for ''Das Kapital'' by Karl Marx; on other shelves were books written by such proletarian authors as Erskine Caldwell, Grace Lumpkin, and Maxim Gorky.

	However, it was the work of Clifford Wight, a former assistant to Diego Rivera, that received the greatest censure. Wight had pointed two tall figures--a surveyor and a steelworker--on either side of a large window. Although the controversial part of his fresco is gone today, Junius Cravens, a contemporary critic, described what used to be there. Commenting on Wight's symbolizing some of the social and political problems of the time, Cravens said:		However, it was the work of Clifford Wight, a former assistant to [[Diego Rivera in San Francisco\|Diego Rivera]], that received the greatest censure. Wight had pointed two tall figures--a surveyor and a steelworker--on either side of a large window. Although the controversial part of his fresco is gone today, Junius Cravens, a contemporary critic, described what used to be there. Commenting on Wight's symbolizing some of the social and political problems of the time, Cravens said:

	Over the central window [Wight] stretched a bridge, at the center of which is a circle containing the Blue Eagle of the NRA. Over the right-hand window he stretched a segment of chain; in the circle in this case appears the legend, "In God We Trust" -- symbolizing the American dollar, or I presume, Capitalism. Over the left-hand window he placed a section of woven cable and a circle framing a hammer, a sickle, and the legend "United Workers of the World" [sic; i.e., "Workers of the World, Unite"], in short, Communism.		Over the central window [Wight] stretched a bridge, at the center of which is a circle containing the Blue Eagle of the NRA. Over the right-hand window he stretched a segment of chain; in the circle in this case appears the legend, "In God We Trust" -- symbolizing the American dollar, or I presume, Capitalism. Over the left-hand window he placed a section of woven cable and a circle framing a hammer, a sickle, and the legend "United Workers of the World" [sic; i.e., "Workers of the World, Unite"], in short, Communism.
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	--''from Coit Tower, by Masha Zakheim Jewett ''		--''from Coit Tower, by Masha Zakheim Jewett ''

	~~POLITICS, SENSATIONALISM, AND THE MURALS~~		[[Image:Art1%24coit-tower-politics%24cover_itm%24coit-tower-book-cover.jpg]]

	All photos of the murals were taken by Don Beatty.		All photos of the murals were taken by Don Beatty.

	~~Contributors to this page include:~~

	~~''Volcano Press - Publisher or Photographer ''~~

	~~Zakheim, Bernard - Artist~~		[[Coit Tower \| Prev. Document]] [[Labaudt's Inspirational Beach Chalet Murals \| Next Document]]

	~~Jewett, Masha, Zakheim - Writer~~		[[category:Public Art]] [[categoroy:1930s]] [[category:North Beach]] [[category:Murals]]

	~~Howard, John, Langley - Artist~~



	[[~~Coit Tower \| Prev. Document~~]] [[~~Labaudt's Inspirational~~ Beach ~~Chalet~~ Murals ~~\| Next Document~~]]