Text reads: JOIN THE/ARMY AIR SERVICE/BE AN AMERICAN EAGLE/CONSULT YOUR LOCAL DRAFT BOARD. READ THE ILLUSTRATED/BOOKLET AT ANY RECRUITING OFFICE, OR WRITE TO THE CHIEF/SIGNAL OFFICER OF THE ARMY, WASHINGTON, D.C. Signed in the design at the l.l. corner: [CHARLES LIVING]STON BULL At l.l. corner: ALPHA LITHO CO. Separate notice glued to the poster at center right: FOR INFORMATION/WRITE OR APPLY TO/DEPARTMENT AERONAUTICAL OFFICER/NO. 4 BROAD STREET/CHARLESTON, S.C.
Text: Over There! Skilled Workers - (stamp in box) For Information Write Or Apply To Department Aeronautical Officers No. 4 Broad Street Charleston, N.C. - On the ground behind the lines in the Air Service - (list top left to bottom right) Chauffeurs, Metal Workers, Auto Mechanics, Wood Workers, Machinists, Photographers, Carpenters, Tailors, Motorcyclists - And Men From 40 Other Trades - Skilled Workers Registered in the Draft, or Under 40 Years of Age Can Still Join the Aviation Section, Signal Corps, U.S. Army - For Instructions Write Air Personnel Division, Recruiting Section, Signal Corps, Washington, D.C.
Text: I WANT YOU/FOR U.S. ARMY/NEAREST RECRUITING STATION Signed in the design at the l.r. of the figure: James Montgomery FLAGG At bottom center edge in margin: COPYRIGHT, 1917, LESLIE-JUDGE CO., N.Y.
Abstract painting, primarily white with a large squarish area of dark green in the top left quadrant. Loose brushwork varies from wide, full strokes to the short, rapid strokes at the compositions center. Pigment application ranges from a very thin wash to heavy impasto.
In "White Territory," the title of the work along with its gestural brushwork strongly evoke the memory or sensation of a landscape. It is a reflection upon personal associations and inner domains that the artist calls "internal weather."
A canvas saturated in layered shades of muted browns, oranges, ochres, and yellows is crossed by lines, some dark some light, some on the surface, some buried beneath the surface color. A bold horizontal line cuts across about a quarter of the way from the bottom. On the right are several faint verticals. At the top two horizontal lines underlap and overlap with two diagonals.
Richard Diebenkorn's Ocean Park series is named after the neighborhood in Santa Monica, California where he had his studio. The subjects of the series are 1) an abstract consideration of color and form, 2) a treatment of the southern California landscape (the mellow subtleties of West Coast sunlight, the vast almost abstract appearance of the dry, open land), and 3) the painting process itself, which the artist makes visible to the viewer through the layers of paint.
Three plastic long-stemmed red roses wrapped in thick transparent polyethylene, tied with twine, ends stapled
Wrapping something in plastic is usually meant to preserve or protect it; however, in “Wrapped Roses” Christo wraps something made of plastic in more plastic. Throughout his career, Christo, with collaborator Jeanne-Claude, has wrapped numerous items in cloth or plastic, including small boxes, furniture, even buildings. The artists deny that their projects contain any deeper meaning than their immediate aesthetic, contending that the purpose of their art is to simply create new ways of seeing familiar objects.
Painting depicting a featureless female figure, in tones of aqua and light blue extending across the center of the canvas in a light gray hammock. There is a bright white shape, perhaps a book, in the middle of the figure. Behind the figure, the rest of the composition is organized in horizontal sections. At top, a yellow sky; below that are two gently-curved mountains in dark brown, followed by two horizontal planes of color in tan and light brown.
The year this painting was painted, Avery spent the summer in Woodstock, NY with his wife, Sally, and their daughter, March, who is probably the reader in the hammock. This work marks Avery’s later period in which he drops any hint of outline, facial and ornamental detail and concentrates on shape, color and composition. He uses undercoats of color, building, layering and scratching to create depth. He uses muted color values and flat tones—he is concerned with surface qualities rather than density and volume. He emphasized the two-dimensionality of the picture plane and was interested in the inter-relation of color and shapes on a single plane.