Search results
Results From The WOW.Com Content Network
Man at the Crossroads (1933) was a fresco by Mexican painter Diego Rivera.Originally slated to be installed in the lobby of the RCA Building at Rockefeller Center in New York City, the fresco showed aspects of contemporary social and scientific culture.
Robert Leroy Johnson was born in Hazlehurst, Mississippi, possibly on May 8, 1911, [4] to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). Julia was married to Charles Dodds (born February 1865), a relatively prosperous landowner and furniture maker, with whom she had ten children.
The RCA Building's opening was delayed from May 1 to mid-May because of a controversy over Man at the Crossroads, a painting in the building's lobby, which was later covered up and removed. [71] A new street through the complex, Rockefeller Plaza, was constructed in stages between 1933 [72] and 1937. [73]
She was an avid gambler and often dressed like a man in order to gamble in the males-only establishments that dotted North Beach. [8] Robert Boardman Howard's cast concrete relief of a phoenix is placed above the main entrance to Coit Tower, a memorial dedicated to the volunteer firefighters who died in San Francisco's five major fires.
In early 1934 a group called the Artists' Committee of Action formed to protest Nelson Rockefeller's destruction of Diego Rivera's mural Man at the Crossroads; Hugo Gellert, Stuart Davis, Zoltan Hecht and Lionel S. Reiss were among the leaders. In the autumn of 1934 Herman Baron, director of the American Contemporary Art gallery, was asked to ...
The Man’s ascension was marked by a ceremony presided over by Gov. Phil Noel, Adjutant Gen. Leonard Holland and me. Since July 1976, the Independent Man has stood like a sentinel over our seat ...
For premium support please call: 800-290-4726 more ways to reach us
Wolstencroft's documentary The Last Days of Joe Blow was reviewed by SBS film critic Simon Foster, who awarded the film a three-and-a-half star rating and described the film as both "[a] jittery, impulsive work" and "a revealing, incisive account of a man at the crossroads."