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She did illustrations for the Communist paper New Masses, and in 1936 she wrote an important essay advocating the production of fine art prints for the masses. <BR/><BR/>Side Show was made during Olds’ tenure with the WPA/ FAP in New York City. The setting is a carnival or fair, with big tents and a Ferris wheel in the background. Side shows featuring an emaciated thin man or “human skeleton” were common at the time; however, Olds’ de­piction should be considered in light of her social con­cerns. The scene takes place near an entrance to the fairgrounds, within a shallow stage-like area lit by spot­lights highlighting a megaphone announcer in the cen­ter. Three portly individuals stand gawking on the left, and a marching band plays on the right. The curvy forms of the rotund audience members and the musical instru­ments contrast with, and accentuate, the gaunt angular forms of the faceless thin man. <BR/><BR/>Klare Scarborough<BR/></SPAN><SPAN STYLE="font-size:10pt">Director and Chief Curator, La Salle University Art Museum</SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/><BR/></SPAN></SPAN>", "Dedication" : "Purchased with The Marjorie and Irwin Nat Pincus Fund for Prints and Drawings.", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3563.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3563.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3563.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3563.jpg", "IsPrimary" : "1", "_SurrogateID" : "2391", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 983, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/983", "Disp_Access_No" : "13-G-3597", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1938", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1943", "Disp_Title" : "Jazz Band", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Laura Woolsey", "Sort_Artist" : "Woolsey, Laura", "Disp_Dimen" : "8 7/8 x 8 1/8 in. 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At the time of her death, she had created almost 800 serigraph editions, thousands of watercolors, and innumerable public and private commissions. - from The Corita Art Center, http://corita.org/ About the print: "Contrary to most of her recent prints, <i>The Great Pumpkin</i> is closer to abstract expressionism than to "pop" art. Nevertheless, the artist says that 'this print could have been motivated by R.L. Short's <i>The Gospel According to Peanuts</i> but for the fact that it happened before the book.' According to Short, the story of the pumpkin is 'that classic advent experience... in which the 'expected one' appeared, but was not actually the one expected.'" - Paul m. Laporte, Professor of Art, Immaculate Heart College (Published in International Graphic Arts Society, subscription catalogue, series #72, January, 1967). 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Throughout the ‘60s, her work became increasingly political, urging viewers to consider poverty, racism, and injustice. In 1968 she left the order and moved to Boston. After 1970, her work evolved into a sparser, introspective style, influenced by living in a new environment, a secular life, and her battles with cancer. She remained active in social causes until her death in 1986. At the time of her death, she had created almost 800 serigraph editions, thousands of watercolors, and innumerable public and private commissions. - from The Corita Art Center, http://corita.org/ About the print: "Lawrence has written of Jesus coming "into touch" with life after his crucifixion and mission, and the great cosmic atonement at last accomplished by being in touch with the life forces of nature and finally with a woman. With her sensitive ability to combinate, Corita puts things and people very much in touch here, in touch with all the light that there is in darkness and all the darkness that exists even in the seeming light." - Celia T. Hubbard, Director of The Botolph Group, Inc. (Published in International Graphic Arts Society, subscription catalogue, series #85, September, 1969). Transcription: "but the man looked at the vivid stars before dawn, as they rained down to the sea, and the dog-star green toward's the sea's rim. And he thought: "How plastic is it, how full of curves and folds like an invisible rose of dark-petalled openness that shows where the dew touches its darkeness! How full it is, and great beyond all gods. How it leans around me, and I am part of it, the great rose of space. I am like a grain of its beauty. Now the world is one flower of many petalled darknessess, and I am in its perfume as in a touch." " This is the great atonement, to be in touch..." - D. H . 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