
This a copy of the text from Ben Himmelfarb’s blog on Local History on Rosa Kittrell for which White Plains (WP) named one of its parks :
Local History: Rosa Kittrell
By Ben Himmelfarb
October 10 has been designated World Mental Health Day by the World Health Organization. In honor of it, here is a story about a White Plains resident whose activism on behalf of people with mental illness had a national impact.
Rosa Kittrell worked hard to redefine the way we view and treat the most vulnerable members of society. Through her tireless activism, personal struggles with mental illness, and belief in the power of education, Kittrell developed a motto: “Others, Lord, others.” Like so many black women in America, Kittrell was intersectional in her activism before anyone ever heard of that term. She recognized the ways sexism, racism, class oppression, and stigmatization of mental illness operated to prevent her from obtaining help and fulfilling her dreams. Although she was not subtle about her frustration with systemic oppression and the ignorance of individuals, she spent most of her time engaged in helping others and trying to expand the boundaries of people’s compassion.
Kittrell was born in Henderson, North Carolina to James Lee and Alice Mills Kittrell. Her father was in the agricultural products business. During high school, she started working at a local YWCA and that inaugurated her interest in service to women and children. Rosa pursued graduate level education, graduating from the Hampton Institute and the Bishop Tuttle School for Social Work. Once out of school, she worked at a community center in North Carolina. It was while she was recovering from a surgery in North Carolina that she “realized that something was wrong” with her mind. She wrote a heart-wrenching account of her mental illness in the December 1943 Club Dial, published by the Woman’s Club of White Plains (and available in the White Plains Collection!).
Kittrell’s journey began while she was recovering from a surgery in a hospital and felt “some inner force” pushing her away from the people around her. Anti-social, negative feelings were novel to her–she was, after all, a social worker who dedicated her life to helping other people. Laying trapped in hospital bed, she felt she had “a normal self and a new abnormal self.” Her disturbing condition was exacerbated by the way people suffering with mental illness were treated in the 1930s. Her surgeon came into her room and gave her “a strong scolding” about her behavior towards nurses and refusal to eat. “Not once did he ask me why I was acting the way I was,” Kittrell reported. Isolated from family and any professionals who knew how to help her, Kittrell felt strongly that she “was no longer of any use.”
Club Dial, December 1943
She was eventually sent home from the hospital, having completed a physical recovery from her surgery. She isolated herself at home, missed work, and started having bouts of vomiting. She returned to the hospital and was quickly dismissed because no physical ailment could be detected. Home again, she became suicidal and was re-admitted. She began having spells of violent behavior and was regularly sedated for six weeks. Of her first harrowing experiences as a psychiatric patient, she wrote, “I longed for someone to whom I could talk, but no one would talk to me… I felt alone in a world where there were many strange people.” It would be years before her feelings were validated and she was treated with respect for her well-being.
Trapped at home, unable to work, receiving comments from doctors to “snap into” normal life again, Kittrell left North Carolina and moved to White Plains. Even with her professional, educated background, Kittrell was only able to work as a domestic–a position held by many black women in Westchester at that time. In White Plains, she “continued the same hysterical hours, but kept them hidden.” She consulted a lawyer in an attempt to bring a suit against her former employers in North Carolina who shunned her after she began having psychiatric problems. Rather than pursuing the case, the lawyer suggested she see a Dr. Brennan at Grasslands Hospital. Kittrell was frustrated by the lawyer’s response, but did not realize that collaboration with Dr. Brennan would change her life (and the lives of many others) for the better.
A different psychiatrist at Grasslands (not Dr. Brennan), suggested Kittrell be committed. She resisted for fear of being “branded as crazy for always.” Her fear was understandable–last time she submitted herself to psychiatric care, she was tortured and fired from her job. After a few weeks, however, she relented and voluntarily committed herself. She was placed in a “pack” and subjected to four hours of continuous baths, an antiquated and ineffectual treatment. She was sedated and given the primitive and often unhelpful medications available at the time. Again, she was “baffled, frustrated” by a system that treated people with mental illness horribly and doubled the misery of African Americans already suffering under discrimination and oppression in society at large.
A ray of light for her was Clifford Beers’ seminal book A Mind That Found Itself, which told of his struggles earlier in the 20th century. Beers dedicated his life to bettering the fate of people with mental illness. Like Kittrell, Beers came to his advocacy work through personal experience, having spent time as a patient in facilities with abysmal conditions. He was the main force behind the mental hygiene movement that advocated for more humane treatment and thorough understanding of those with mental illness. Kittrell read A Mind That Found Itself and wrote to Beers for hope and direction, eventually meeting with him twice. Through a total of 21 admissions to different hospitals and Beers’ influence, Kittrell developed a critical consciousness about the mental health system and became determined take action.
Reporter Dispatch, January 22, 1965
She felt society “hadn’t learned to face mental illness, and this condition was doubly hard for a Negro.” Her diagnosis of society’s ills had three parts. First, the lie “that Negroes don’t go crazy” must be disproven. Second, people must fully “recognize the fact of mental illness” and accept responsibility for discovering solutions. Third, black Americans with mental illness were forced to “do battle in… an alien white world where no opportunity is given for members of his own to help him.” Kittrell’s community in North Carolina was unable to help her, and she fared no better in the supposedly less-segregated north. Her drive to provide better treatment for all people, but especially black Americans, with mental illness led her, finally, to Dr. Thomas P Brennan.
It took four years for Kittrell to approach Brennan as a collaborator in her activism. She “identified him with the white race,” but was eventually won over by “his real love of all races and a sincere desire to help the mentally ill.” Together, they set up the White Plains Mental Hygiene Group, which had specific goals. The group sought to create a psychiatric hospital for black Americans attached to a “Negro medical school” and to create trainings for the enlightenment of existing psychiatric professionals. Kittrell and Brennan’s campaign was extremely successful in creating a movement for change. Together, they sponsored and attended conferences in Alabama, North Carolina, Washington D.C., Oklahoma, Georgia, and West Virginia, leaving new, local mental hygiene groups in their wake. Like Johnny Appleseed but with a social conscience, Kittrell traveled to spread her progressive message that people should “look upon mental illness as they do upon physical illness,” presaging our contemporary understanding of mental illness.
In addition to putting her energy into national reform efforts, Kittrell dedicated the majority of her time in the late 1940s until her death in 1967 to social activism in White Plains. At a 1965 dinner to honor her work, international medical rights authority and Scarsdale resident Howard A. Rusk, Jr., said, “She was way ahead of her time in her foresight and knowledge of needs in the community.” Kittrell’s “war on poverty” started long before Lyndon Johnson declared the eradication of poverty a national priority.
Reporter Dispatch, January 24, 1967 (1 of 2)
In 1945, Kittrell established the Carver Community center to serve young people in downtown White Plains. In 1952, she founded the Kittrell Nursery School for the children of working mothers. Its original location, at 60 West Post Road, was a storefront space. After the Rochambeau School was closed when the Racial Balance Plan was enacted, Kittrell merged with the White Plains Child Day Care Center in the former elementary school. Because the school served families who could not afford to pay very much for child care, it struggled financially. As Kittrell’s obituary noted, her “impulsive, outgoing, total concern for the children in her care” was sometimes an impediment to garnering mainstream financial support for the school. Eventually, Kittrell was relieved of business responsibilities and able to “concentrate on the school’s program,” which included prayer, food, and socialization activities. Kittrell’s passionate activism “resulted in considerable trial and tribulation” in her life. Her sister, Flemmie Kittrell (Director of the Home Economics Division of Howard University), said, “One of the weaknesses of Rosa is that she is always looking around to see who in the community is poorer than she is, and trying to find out what she can do for them.”
Kittrell usually favored action over talk. She did, however, offer this when she was honored for her work by the community in 1965: “You have no idea how this makes me feel on the inside, but I give all the glory to God. Many hours we have prayed and said, ‘Lord, here is a parent who wants to do the right thing for the children but who just can’t today.’ Let us try awfully hard to be very real now, because we are working with human beings and we have to meet them on their level. But let us also cling close to God, for we have not experienced Him until we have done something for someone else.”
Reporter Dispatch, January 24, 1967 (2 of 2)
Her style of activism was defined eloquently by Prince P. Barker, a colleague in the mental hygiene movement from Tuskegee University. He described their reform efforts as the “correlated use of the social sciences as a tool for the promotion of the mental efficiency and healthful living on men and mankind.” Kittrell acknowledged that mental illness and poverty were not issues that could be improved through strictly technocratic solutions. For her, race, class, gender, faith, and the realities of everyday life all had a place in discussions of social problems. In living by her motto of “Others, Lord, others,” she acted with an authority born of experience.
October 10, 2017

Intriguing artist Henri Gaudier-Brzeska (1891-1915) lived a short full life before dying on the battle field in Europe during World War I at 23.
French born sculptor had a platonic but personal relationship with Sophie Brzeska, a polish poet and writer. He adopted her surname.
The couple moved to London in 1910 till he enlisted in French Military where he died. Both suffered from mental illness.
Henri left a large body of work including drawings, paintings and sculptures. He was part of the Vorticism movement.
He and Sophie were the subject of movie ” Savage Messiah,” a play and non-fiction books.




“Who ya gonna call?” What can a person do when they need help? There are a number of organizations and places that people can reach out to help. Listed here are those available to White Plains (WP) residents.
Information listed here does not guarantee you will get the help you expect or need. The list is incomplete and some listings might have changed. Many organizations have multiple purposes & services not all listed here.
Abbreviations used here: WP-White Plains, WPPL- White Plains Public Library, WPETC– White Plains Education Training Center.
Adults/Seniors:
Adult Clothing:
Caregivers Help:
Children’s Clothing (0-18):
Children Programs (0-18):
Children in Crisis:
Cultural Groups:
Diapers:
Disabilities:
Education:
Emergency Housing:
Families:
Financial Advice/Aid:
Food Pantry & Help:
Food-Soup Kitchens and Meals:
Foster Care:
Free Things:
Health:
Home Renovation, Repairs and Paying mortgages:
Housing Help:
Info Helplines:
Legal- Discrimination Help:
Mental Illness:
Safety:
Transportation:
Work:
Workouts or Exercise Programs:
White Plains (WP) today is a “diverse” community but has not always been. Census reporting gives the best way to examine the changes.
WP’s first settlers came from Rye in 1683 and were English Puritans. The first US census of 1790, recorded WP with a total population of 550. This number included 40 slaves. In 1820, WP had 675 residents of which 63 were free blacks and 8 slaves. After 1827, slavery ended in NY and the Census recorded a population of 2,630.
The population of WP grew after the NY and Harlem Railroad reached WP on Dec 1, 1844. The population in 1880 was 2,381 and went up 60.8% by 1890 to 4,042. By 1900, the population had increased by 90.5 % to 15,045. The Harlem rail line to WP became electrified by 1910 and a second rail line the NY, Westchester and Boston Railway opened in 1912. This line ran through the center of WP from its southern border with Scarsdale to Westchester Ave (where Nordstrom is today). The train companies advertised the availability of affordable lots where one could build a home. They also offered deals for weekly committing options and the attractiveness of area for permanent leisure living and for shorter vacations (holidays, summers and weekends).
In 1920, WP had 21,031 residents. By this time, WP had other forms of faster more convenient modes of transport with buses (replacing trolleys) and cars. The NY, Westchester Boston railway closed in 1937. In 1930, WP’s population was 35,830. The NY Westchester Boston railroad stopped running in 1937 but had no affect on the population. In 1940, WP had 40,327 and in 1950 43,466. Winbrook Apartments (now named Brookfield Commons) opened in 1950 giving the WP low income housing choices.
The population of WP increased to 50,485 by 1960 and though the Cross Westchester opened the population in WP decreased. A major urban renewal project began in the core area of the Business District with demolition beginning around 1966 and continued till 1980. Eliminated in the Business District were blocks of structures containing housing and businesses. As a result, many African Americans and Italians left the city. By 1970, the population had decreased .3% to 50,125 and by 1980 it fell to 46,999. City had more low income rental housing choices in areas outside the Business District but it was still hard for Blacks (and others) to secure loans for home ownership and to purchase single family houses in WP.
By 1980, much of the Business District had been transformed and the number of residents began to increase again. By 1990 the population had increased to 48,718.
By 2000, WP had 53,077 residents. The racial break down was 34,465 White(64.9%), 8,444 Black or African American (15.9%), 182 American Indian/Alaskan Natives (.3%), 2,389 Asian (4.5%), 37 Native Hawaiian/Other Pacific Islander (.1%), 5,502 from other races (10.4%) and 2,058 from 2 or more races (3.9%). Of the total, 12,476 or 23.5% were Hispanic or Latino of any race.
By 2010, the population was 56,853. The city’s racial make-up: White 36,178 (63.6%), 8,070 Black or African Americans 8,070, 394 American Indian/Alaska Native (.7%), 3,623 Asian (6.4%), 20 Native Hawaiian/Other Pacific Islander (less than .1%), 6,324 of other races (11.1%) and 2,224 from 2 or more races (3.9%). Of that, 16,839 are Hispanic or Latino of any race (29.6%).
Population estimates projected by US Census Bureau and this and other information is available on the website: http://www.census.gov. Estimate for 2017 (in July) is 59,047 residents.
*Data from US Census Bureau American FactFinder for 2000 and 2010.

First play I went to see as a teen was Fiddler on the Roof and I was hooked. Continued to go to live theatre during my college years including Yale Repertory Theatre in New Haven as well as student productions of Southern Connecticut College where I attended school from 1972 to 1975. In 1982, I became a TDF member that gave me access to a lot of live shows on and off Broadway.
Most Broadway theatres are historic; treasures that I hope will be preserved for a long time. Broadway Theatres are defined by their size (number of people in the audience) and the quality of the performance. Musicals require live musicians. The smallest theatres seat about 500 but many seat over a thousand. Most are in the Theatre District (W 40th St to W 54th St) of NYC but the Vivian Beaumont Theater is at Lincoln Center.
Many of the 41 Broadway Theatres are named after producers, actors and others associated with the theater.
Samuel J. Friedman Theatre
The 1925 theatre at 261 W 47th St is named for publicist Samuel J. Friedman.
Ethel Barrymore Theatre:
The 1928 theater at 243 W 47th St is named after actress Ethel Barrymore.
Brooks Atkinson Theatre:
The 1926 theatre at 256 W 47th St is named after NY Times theater critic Brooks Atkinson.
Mark Twain once said that there were three kinds of lies: Lies, more lies and statistics.
President Trump is an outright liar. He doesn’t even remember what he says and posts online. He twists facts and has a bunch of paid talking heads that continue to lie for him.
People lie but President Trump does so in such a grand scale that only a fan without scruples could believe. And, that’s the scary part. We teach children to tell the truth. So then what message is our President sending to our youth?
![raingarden_poster_dec2008[1]](https://sandraharrison1954.com/wp-content/uploads/2018/02/raingarden_poster_dec20081.jpg)
Rain gardens or bioretention spaces are a good and inexpensive way of alleviating flooding issues caused by run-off or heavy down pours.
“Bioretention is a process in which contaminants and sedimentation are removed from storm water runoff. Storm water is collected into the treatment area which consists of a grass buffer strip, sand bed, ponding area, organic layer or mulch layer, planting soil, and plants (Wikipedia definition).”
Rain gardens are more complex than a regular garden or an area with plantings. They involve the layering of different materials below the surface with the careful selection of plantings on the top. The center is depressed to move water into the ponding area. There are many designs and many can be viewed online.
These gardens can be built on abandoned spots or small areas where there is a need to redirect pooling from run-off . Storm drains on the surface often get clogged or backed up during heavy downpours causing water to accumulate on roadways.
Rain gardens are aesthetic as well as efficient. They stop fertilizers and other pollutants from entering our waterways.
There are other low impact “green” ways of dealing with storm water such as green roofs, detention ponds, swales and bioswales, permeable pavements, infiltration galleries and rainwater harvesting.
In memory of my father Paul Harrison (1920-2013), my mother celebrates my father’s birthday each June at NEJC. Paul was born on June 14 on our country’s flag day. She made a collage last June (pictured on the left). We visit him in Valhalla (Sharon Gardens) each year. He died Sept 11, 2013 at the age of 93, was a WWII Vet and worked for the US Post Office.
He married at age 29 (8/211949) for life to Harriet Harrison (born 6/29/1931) (when she was 18) who at 86 still lives in their forever home in Yonkers, NY. Paul & Harriet had three children: Irene (3/20/1952), Sandra (4/10/1954) and Leonard (5/20/1958). Kimberly Harrison (8/15/1988) is their grandchild.
Paul’s parents Rita (Vita) Bosloff (alternative names:Boslow or Boslov) and Sam Harrison were born in Russia but they met in US where they had three children: Ray, Paul and Renee. My father was born in Manhattan, NY.
Sam Harrison who died during WWII had a brother Louie who married Sonia and they had a son named Paul. Rifka was their mother who did come to America and lived with them. Paul Harrison, my father’s first cousin was discovered by my brother who told my Dad that he wasn’t the only Paul Harrison then living in Yonkers. Cousin Paul was living in Yonkers with his wife Barbara (formerly Goldstein) and two children Mark and Leslie. Some ancestor might have had a similar first name for which both cousins were named after but who knows? The two Pauls got reacquainted and even when Paul & Barbara moved to Florida my parents would visit them in the Sunshine State. Harriet and Barbara are not just FB friends but exchange e-mails. Barbara likes to send my mother jokes and interestingly my father used to collect them but stored them in a shirt pocket.
Rita Harrison was one of 8; most were living (7) in the US. Sam and Rita came from different areas of the then Russian Empire before WWI and were married in 1917 in Manhattan. Sam might have come from a village near Kiev but Rita might have come from an area near Moscow or Minsk but this is not backed up by facts. We have no clear explanation for the Harrison surname. One census had Rita’s village listed but I could not read. Could not find their records in Castle Gardens or Ellis Island Data base. Rita’s parents did come to US. Rita’s sisters Pauline, Helen and Rose; brothers Saul, Sam, Ruby and Zelig were living in US. As far as I know, our family had no contact with sister still in Russia.
Ray married Al Zwerling and had two sons, Stanley and Sheldon. Renee, the youngest, married another Paul Krasko and had two children Robert (Bobbie) and Lynn.
Harriet Harrison had one brother Joseph who married Addie. They had two children, Ira and Debra (Debbie). Samuel (Sam) Schild, Harriet’s father had three wives. Ida born in Poland (formerly Cohen, Coco or Kulka), Harriet’s mother (married in 1920) but died when Harriet was 16. Sam’s second wife had an older son but he was living in Japan as a translator. Molly was my Sam’s last wife who outlived him. She had no children and had been married before Sam. Molly outlived Sam by many years and lived in their apartment building next to Dakota in NYC. Molly was born in Russia and when we noticed a letter written by her we noticed that the “h” in Russian looked like an “h.” Could the Harrison surname have been Garrison? But, after research, I deduced that this was not any better as a reason since Garrison is not a Russian name either.
Samuel Schild (1899-1971) had 2 brothers Herman (b1891), and Rueben (b 1897). Abraham Schild their father was born in 1856 and immigrated from Austria in 1887. His wife Eva was born in 1867 in Austria. She emigrated from Austria but my notes are not clear (1882/1884). By 1920 she was widowed and remarried.
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This info is from my research and from what Harriet Harrison could remember. Paul refused to talk to me about his history but did like to listen to the tape I made in interviewing her for a Sociology paper. I interviewed Sam Schild and Molly but not sure where the paper or the tapes went. My niece used the tapes for her school project. My DNA is being tested but I have yet to get the results.
Comments:
My mother sent in comment but it did not get listed so I copied here: Harriet Harrison quote “Just in case you think your Dad’s childhood was all grime…… it wasn’t… He and his sister Ray (18 months older) spent a lot of time together with friends… They would cross the George Washington Bridge into New Jersey and hike. I think one time they were actually asked by some authorities who they were but nothing came of it………. Parents of one of the “hikers” expressed worry about their adventures but Paul’s father answered — “Don’t worry – Ray has a map””

Paper “Discontentment” was originally written in 1972 when I was in high school. I did make some corrections, put drawings in text and updated the method for showing references within the text:
Cavemen had clubs & tools; we have bombs & machines. The Chinese eat with chopsticks while Americans eat with forks. The Romans wore togas; we wear overalls and blue jeans.
Throughout time & throughout the world man differs from his contemporary according to which society he was born into. Each society creates their own individual culture. This culture is made up of everything that was or is created by its members. When a new member comes into a society by birth or by migration, he must be socialized in order to be accepted. That person must accept the norms of expected behavior, morals & emotions; and many of the customs of the society or he will find himself in a clash with his surroundings. Culture can thus effect our emotions and even the way we think. We may deny these cultural effects but they are present no matter how much we deny our conformity.
A society’s culture is reflected in the every day lives of its members. The artist of his period expresses the mood, the values, the morals and the everyday lives of the people within his environment by his creations. The caveman’s mysterious and sometimes frightening surroundings along with his outlook on life and his culture were expressed in his paintings and sculptures. Today’s man, in a more modern setting, not only expresses himself on canvass but in a wider range of mediums. The modern artist also depicts his surroundings in his works and unlike his predecessor before him, he defines his world in a new form
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Many thousands of years ago, man first appeared on earth. Then, too, a culture was forming and has been changing ever since. Prehistoric man found that by borrowing his neighbor’s invention of a spear he could be more successful in catching game. The discovery of fire widened the caveman’s world. Fire gave him warmth and when he heated his food by it, the taste was improved. These things may seem trivial but to primitive man, who had less intelligence than modern man, they were tools to his survival.
The cave artist expressed in his cave paintings his strange and harsh world. He painted a bison or deer on the wall perhaps for religious significance, but in any case a part of his everyday surroundings. There are mainly two schools of thought on why the caveman painted. One being that he drew for the love of art and the other for religious reasons.
The first school of thought explains that the caveman drew for pleasure and for no other reason than for enjoyment. Perhaps, he drew woman fat and grotesque as a sign of beauty (Drawing 1), and preferred to paint animals rather than man in a realistic almost perfect form. If this was true, the caveman painted to escape his harsh reality and needed a form of expression to do so.

Man began to create forms that reproduced the reality in which he lived and expressed the dark anguish and all pervading dread that dominated his existence (Pischel, 1968, p9).
I believe that the caveman needed an escape because mere existence and his need for survival was not enough for self satisfaction. Also his world was changing and he learned new things every day. Could it not be possible that with this new knowledge being thrown at him he developed cultural pressures known as culture shock? I believe he could have and in some small way did.
Culture shock is the experience of disorientation and frustration that occurs when an individual finds himself among people who do not share his fundamental premises. Acute culture shock is most likely to be experience when expectations. about personal feelings and interactions are violated. ( Broom & Selnick, 1968, p61)
If man in this period of time painted for religious reasons, proof of this can be found in almost every painting and sculpture created by prehistoric man. Most of the cave art was found in caves far secluded from the opening, many of them in the dark and sometimes hidden Most of the caveman’s art was of animals like those he hunted and when he drew man, he was a mere stick figure or very primitive (Drawing 2). In many drawings and sculptures the shape of the animal or woman was represented as fat and grotesque. For these reasons archaeologists will point that the art of prehistoric man was religiously influenced.

…as the Egyptians’ art was for the dead similarly the caveman, or no artistic skill than Egyptian priests and craftsmen responsible for our cathedrals, found thanks to belief in the magic of hunting, or reproduction, and of destruction, a social basis for practicing, developing and teaching their art. They were both artists and Magicians creating for love of art but also to increase and multiply the game they wanted to hunt fruitful, and to destroy harmful beasts (Brewil & Lantier, 1959, p177).
It has also been found that in other primitive cultures, they were universally sympathetic to magic and it can be assumed that the cavemen could have held the same beliefs.
A fat woman or bison (Drawing 3) may be significant of a pregnant female in fruitful state. Perhaps the caveman believed that by representing the female in this state, he could secure a good hunt and many children. As an artist the caveman painted his animals quite realistically but he portrayed man in a far inferior form. Even hands found on many cave paintings were malformed (Drawing 2). Again he may have done this because of superstitions and as a response to his beliefs. “Man was a far larger extent master of his fate, even if he lacked security in the face of forces of nature (Pischel, 1968, p12).

The artist himself may have been a sorcerer and painted a bison and a deer deep inside his sanctuary, the cave itself, as part of a ceremony or ritual. From drawing four (Drawing 4) one could conclude that if it is not a God or the sorcerer himself could it ever have been done as a joke or for pleasure? I myself doubt the latter.

If either school is right, I feel that the caveman in both cases can be considered to have been in awe of his surroundings. His constant search for food and shelter brought great pressures and through self expression he could find peace in painting.
His aspiration’s to make from nothing and from his desire to give visible form to some aspects of his confusion of mind and of the anguish that assailed him. In this sense, cave art expresses primitive man’s view of reality which surrounded him and the magical concept he had of his world. (Pischel, p10).
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It is now 1972 and our world is much different than that of prehistoric man. Our culture far more advanced than primitive man, still has not alleviated and fears of living and surviving. Our insecurity and anguish, is still present. We may have come a long way, but we are still caught up in the confusion of our surroundings.
Times are evolving far faster than they did even a score ago. Our basic culture is rapidly changing and as it does many people, including myself, may not be able to accept our modern world. I see the US as a country run by machines, taught by machines and creating machine like people. I see how the machine can destroy a once unblemished earth, scarred and hurt beyond repair. I see people indifferent to each other and a society of people who live by the ticking of the clock. Heaven help us, if the clock ever stops. We are so conditioned by our society that we have forgotten how to express our deep emotions and think for ourselves. I see myself catching Toffler’s disease “future shock” (Toffler, 1970, p10); and not accepting the materialistic money conscious society today, but being caught up in it no matter how I try to avoid it.
In the three short decades between now and the 21st century, millions of ordinary, psychologically normal people will face an abrupt collision with the future. Citizens of the world’s richest and most technologically advanced nations, many of them will find it increasingly painful to keep it increasingly painful to keep up with the incessant demand for change that characterizes our time. For them, the future will have arrived too soon. (Toffler p9).
On canvass and in other mediums, the artist portrays the materialistic, machine conscious world of today. The pop artist developed a form in which he mocks our values, morals and our day to day existence. He takes ordinary objects we confront everyday and puts them on canvass or in a sculpture. The presentations offered speak as a means of discontentment with today’s modern world. Through the artist’s eye, one can see how our minds are thinking, and how we are being affected by our culture.
Andy Warhol’s works, which are mostly silk screen prints, remind me of our machine-like world, producing Brillo boxes and Campbell soup cans in duplicate, triplicate and ad infinitum (Drawing 5). Warhol has done various prints in which he repeats the same subject, with people such as his “Elvis” (drawing 6). I feel that as a machine produces the same products many times over, we ourselves act like we are made by the same machine, talking and even living the same homogeneous lives.



Machine like people are being stripped of our human emotions and deep feelings towards fellow man, as expressed in Carlo Carra’s painting “The Hermaphrodite Idol” (see drawing 7). The artist portrays a doll-like figure, divested of all emotion and feeling drained and brainwashed. Viewing Roy Lichtenstein’s “Woman with Flowered Hat” (Drawing 8) and can sense by the abstraction of the form, negative feelings toward the beauty of man himself. An abstract artist may be saying more in his work than just trying to be different.

Our culture effects our emotions in the extent that it is alienating us from our surroundings. Two contemporary artists Edward Hopper and George Tooker express this feeling in their paintings. Hopper, by painting places rather than people, projects a sense of emptiness and silence through bold patterns of light and shadow. In “Early Sunday Morning” (see drawing 9), the street scene is deserted and one feels a sense of desolation and isolation. Tooker, through the use of people, creates an atmosphere of alienation and lack of meaning in people’s lives (see drawing 10).


As Americans, we live in a materialistic society. We strive for success and lots of money. We baby our cars and other possessions. Many artists have done paintings of money itself. Examples are Warhol’s “Ten Dollar Bill” (Drawing 12). The collage by Anita Siegel (Drawing 13) presents a picture of our money-based economy and how each year we faithfully pay our taxes. In the plastic head (Drawing 14) one can see how our minds are cluttered with materialism.

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The ocean of man made physical objects surrounds us is set within a larger ocean of natural objects, but increasingly individual. The texture of plastic or concrete, the iridescent glisten of an automobile under a streetlight, the staggering vision of a city-scape seen from the window of a jet-these are intimate realities of his existence. Man-made things enter into and color his consciousness. Their number expanding with explosive force, both absolutely and relative to the natural environment. This will be even more true in super-industrial society than it is today (Toffler, p52).

Our minds are being affected by our commercial society. Advertisements, such as billboard, hide our natural surroundings while television and other mass media probe into our minds. A sophisticated television commercials (Alka -Seltzer) produces less in sales than the inferior commercial (Charmin Bath Tissue). By thinking less our minds are conditioned to take in this poor quality media. The pop artist reflects this in his works. Bernie Kenmtz’s “Mrs. Karl’s Bread Sign” is an example (drawing 15). The huge painting of a loaf of bread is part of an actual city street, appearing like a billboard but it is only an imitation, not an advertisement. Lichtenstein using n actual newspaper advertisement as a subject of his painting “Girl and Ball” (see drawing 16).


Popists hold firmly that color, form and composition (as well as subject manner) can be taken from banal or commercial objects we see all around us in the supermarket, on billboards, in the newspapers and on television. Moreover, they are determined ‘coolly’ to accept the world of advertising and mass-media and so to fashion a language of popular culture today and the mysterious, often in comprehensible world of so called fine art (Amaya, 1970).
Creativity is not encouraged for everyone. Our hobbies, such as needlepoint, is now packaged in kits, predesigned as to color and content. Warhol’s “Do It Yourself” (drawing 17) illustrates a paint by number kit, a reflection of our lack of imagination.
Abstracts, such as happiness and love can be over analyzed in books and in other publications, lose its basic meaning. Lichtenstein’s analysis of Cezanne wife (drawing 18) lacks a sense of beauty when compared to an actual portrait of Cezanne’s wife (drawing 19).


From the time man first began to draw until the present day he has left a permanent memory of his era on canvass for others to view. The true artist is free to express any mood he wishes, make a statement, message, or moral, and can even predict the future. As a critic, the artist depicts from his surrounding the ills of the world and presents then to the viewer who interprets them as he wishes.
Since the beginning of man’s existence on earth to the present time, he has always had a grievance and reason for being dissatisfied with life time, but will hope that the future will be better. Through adversity true happiness is realized. With this knowledge man should be able to improve his life and contribute betterment for his fellow man.
Drawing Notes
Biography
Amaya, Mario. Pop Art and After. NY: Viking Press, 1965.
Batterbery, Michael. Twentieth Century Art. NY: McGraw Hill, 1969.
Broom, Leonard & Selnick, Philp. Sociology. NY: Harper & Row, 1968.
Brewil, H. & Lantier, R. The Man of the Old Stone Age. NY: St Martin’s Press, 1959.
Coplans, John. Andy Warhol. NY: NY Graphic Society LTD.
Lippard, Lucy. Pop Art. NY: Frederick A. Praeger Pub, 1966.
Pischel, Gina. A World Histoty of Art. NY: Golden Press, 1968
Samachson, Dorothy & Joseph. The First Artists. NY: Doubleday, 1970.
Ucko, Peter & Rosenfeld, Andree. Paleolithic Cave Art. NY: McGraw-Hill, 1967.
Toffler, Alvin. Future Shock. NY: Random House, Inc., 1970.
Wonderland
Posted on March 7, 2018 by sandraharrison1954
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No, I’m not Alice.
Feeling more like a Mad Hatter.
I do know, though,
That I’m not in Kansas.
Can’t stop watching,
The drama taking place in the Capital.
The bad guys seem to be winning.
Protesting doesn’t seem to matter
Though protestors at Capital hearings seem out of place.
America has done itself harm,
By electing the most disrespectful,
Dishonest fool that I have ever known.
And, the anger and hate that has followed is scary.
It’s like being in a long dark tunnel
With no end in sight.
Creepy crawlers all about.
Just looking for truth and hope.
Don’t usually follow the process of selecting our nation’s Cabinet secretaries
But I was curious
Like a moth drawn to the light.
Once the Senate votes in a bunch of billionaires
The country will be in the hands of a bunch of billionaires
Who live in a world so far removed from the rest of us.
.
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