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260:. Attendees were confounded by the simplified color scheme and distorted proportions, and were perplexed that it merited the award. A local news article published after the event speculated that the controversy stemmed from a prevailing lack of appreciation for the significance of simplicity in modern design techniques, which was becoming increasingly evident in the creation of furniture, houses, movie sets, and various objects of the era.
278:(silkscreen prints). Dimondstein's 21-color "Ocean Park Pier" was selected by the Carnegie Institute as one of the 100 best prints in 1947. This serigraph, along with others by Miriam Dimondstein, were exhibited at Fraymart Gallery in June 1948. At the time, the pair were considered leaders in the new art medium.
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Dimondstein would continue to paint through the 1960s. Moving away from painting oil on canvas, he painted portraits using acrylic on paper with a “sure sense of composition...ability to exploit color as a formal device...and a free spirited feeling for improvisation” (Los
Angeles Times, October 18,
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At the beginning of his career his work was abstract, influenced by the Paris School. Gradually, along with
Picasso, Leger and others, but without the obstacles that have impeded the older painters, Morton Dimondstein, with the advantage of youth, faced the objectivity in art; a thing which has been
1212:
White House
Conference on the Arts: Joint Hearings Before the Subcommittee on Select Education of the Committee on Education and Labor, House of Representatives, and the Subcommittee on Education, Arts, and Humanities of the Committee on Human Resources, United States Senate, Ninety-fifth Congress,
495:
Dimondstein and his family moved to Italy in 1960. During his time in Italy, Dimondstein continued to create using print and paint, but his focus transitioned to sculpture. He would sculpt using wax and then cast the wax in bronze. Most of his sculpted works during this time centered on the nude or
163:
In 1942 he married fellow artist and activist Miriam "Mimi" Green, who followed him to
Colorado Springs and Camp Adair in Oregon before he was deployed with the 104th Infantry Division. They divorced in 1948. Dimondstein's second wife was Geraldine "Red" Holtzman, dancer and professor of arts
512:
Dimondstein had established The School of Fine Art, where he taught and worked alongside photographer Harry
Drinkwater, and artists Arnold Mesches, Ted Gilien, Keith Fitch, and Martin Lubner. Later, he also taught drawing and sculpture at the University of Southern California. Notable artist
1164:
The 1942 State-Wide
Nominating Petitions and List of Signatures and Addresses which Appeared Thereon, Filed by the Communist Party with the Secretary of State in the State of New York: Official Report Prepared by and for the Confidential Use of the Special Committee on Un-American
222:
Dimondstein served in the 104th
Infantry Division in the 387th Field Artillery Battalion as a forward observer and fire director center operator. During his service, Dimondstein was interviewed by the Federal Bureau of Investigation for his association with
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by social ideology. The FBI's investigations into
Dimondstein continued during this time, which included visits to their home by presumed federal agents meant to intimidate. Media attention to their works was censored.
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a series of three sculpted works, abstracts multiple bodies and body parts into a blossoming knot. This series is canonized by
Dimondstein in one of his self-portraits,
207:. Their relationship would be the subject of an interview conducted by the Federal Bureau Investigation during an investigation of Seeger for his communist affiliation.
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Dimondstein was the art editor for multiple editions of The
California Quarterly from 1953 to 1956, which published works by various local artists and poets, including
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After relocating to Los Angeles, Dimondstein enrolled at the Otis College of Art and Design (then the Otis Art Institute), studying painting with Paul Clemens and
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557:(1965), an iconic sign held up by protestors at the Los Angeles County Museum of Art. Dimondstein's name appears on a list of artists who participated in the
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Dimondstein signed a petition within the 1942 State-Wide Nominating Petitions and List of Signatures and Addresses, which was filed by the
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The Artist at Work (1955), self portrait. The painting depicts a sculpture in the foreground reminiscent of his series, The Three Graces.
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who lived in the United States, Mexico, and Italy over the course of his life and career. One of his self-portraits is held by the
203:. It consisted of about 100 members who organized around a mutual interest in cultural work. During his time, he fraternized with
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504:(c.1955), which depicts Dimondstein working behind a sculpted blossom of limbs. He also sculpted with wood and polyester resin.
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Dimondstein's oil painting “The Attack,” which depicts a "wounded buddy" in a razed German town, was awarded first place by the
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963:"A Finding Aid to the Heritage Gallery records, 1944-2000, bulk 1960-1998 | Archives of American Art, Smithsonian Institution"
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and members of the Artist's Protest Committee. It is likely that he contributed his own panel, though this is unverified.
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148:. Dimondstein is the father of three children and adoptive father of notable feminist philosopher, author, and speaker,
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951:(Interview). Interviewed by Amanda Tewes. Oral History Center, The Bancroft Library, University of California Berkeley.
372:. During his three years in Mexico, Dimondstein also worked as a staff artist and instructor in visual education for
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Dimondstein, left, receives first prize from Edward Withers, head of the California Art Club, for his oil painting
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Dimondstein, along with his second wife Geraldine "Red" Dimondstein, were blacklisted during the worst years of
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Communist Political Subversion: The Campaign to Destroy the Security Programs of the United States Government
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Dimondstein started the Fraymart Gallery on Melrose avenue in 1948 with his then-wife Miriam, art dealer
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Dimondstein was identified as a sponsor of the Los Angeles Committee for Protection of Foreign Born.
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To avoid the blacklist, Dimondstein and his family moved to Mexico in 1951. There, he attended the
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Dimondstein was raised in a secular, Yiddish-speaking and culturally Jewish home in New York City.
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Dimondstein, along with many other actors, screenwriters, and artists, were blacklisted due to
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326:. Siqueros penned a personal recommendation for Dimondstein, which was also published in
911:(Interview). Interviewed by Merle Solway. UCLA Library Center for Oral History Research
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in New York City. During this time, he studied printmaking, drawing, and painting with
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1069:. 1083 5th Ave, New York, NY: SOCIETY OF AMERICAN GRAPHIC ARTISTS, INC. p. 14.
248:(1946), a vivid impression of a "wounded buddy" amid the rubble of a German town.
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education who he married in 1950. They remained married until his death in 2000.
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Dimondstein was on the board of directors for the Artists For Economic Action.
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While in Mexico, Dimondstein was a member of the artist print collective, the
1192:"Appendix to Journal of the Senate, Legislature of the State of California".
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120:(November 5, 1920 – November 27, 2000) was an American painter, sculptor,
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Appendix to Journal of the Senate, Legislature of the State of California
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was a student of the school, where he learned directly from Dimondstein.
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Dimondstein continued to receive recognition in his work into the 60's.
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David Alfaro Siquieros, Letter of Recommendation for Morton Dimondstein
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Taladores (1951) by Morton Dimondstein, created while living Mexico.
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showcase in 1966, a collaborative art demonstration organized by
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Kill For Peace : American Artists Against The Vietnam War
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Parker, Alice Lee; Fern, Alan; Kaplan, Milton (January 1964).
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lost as a collective impulse since the end of the Renaissance.
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43rd Annual Print Exhibition, IBM Gallery of Art and Sciences
866:"Historical Membership Roster: D » California Art Club"
465:. A shared exhibition for their work was established at the
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Dimondstein worked closely with friend and fellow artist,
274:, and Manny Singer. There, they sold original, affordable
1167:. Committee on Un-American Activities. 1940. p. 219.
1305:
Kill for Peace: American Artists Against the Vietnam War
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that was used for the cover of his 1959 album release,
1200:: 434, 435 – via California State Print. Office.
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with the Secretary of State in the State of New York.
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Dimondstein worked for the advertising firm headed by
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as illustrated by Morton Dimondstein in woodcut style.
1215:. U.S. Government Printing Office. 1978. p. 450.
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Dimondstein's son Joshua partnered with him in 1996.
1181:. U.S. Government Printing Office. 1957. p. 59.
889:
Ross, Kenneth (August 11, 1946). "Art and Artists".
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in 1946 at the First Annual G.I. Art Exhibit at the
227:, who was the primary focus of their investigation.
1140:"Passage, an online magazine of visions and voices"
1095:"Paintings by Martin Lubner and Morton Dimondstein"
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988:A Collection of Engravings by Morton Dimondstein
629:The Quarterly Journal of the Library of Congress
573:He established Dimondstein Tribal Arts in 1970.
431:Dimondstein created woodcut covers used for two
1036:. Lexington: The University Press of Kentucky.
946:"Susan Griffin: The Joy and Power of Community"
599:"* Morton Dimondstein; Woodcut Artist, Curator"
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1120:Tal Farlow - The Guitar Artistry Of Tal Farlow
929:"Serigraphy - new art medium now on display".
1332:"L.A. TRIBAL :: DIMONDSTEIN TRIBAL ARTS"
8:
1280:"Center for the Study of Political Graphics"
813:"Re: Interview with Pvt. Morton Dimondstein"
322:, where he worked with the renown muralist
1251:Protest Committee, Artists' (1965-05-14).
1015:: CS1 maint: location missing publisher (
714:"Susan Griffin Strong Man (Personal Blog)"
472:Dimondstein created a woodcut portrait of
360:, a collective founded in 1937 by artists
40:
29:
1307:. University of Texas Press. p. 11.
195:In 1939, Dimondstein was a member of the
1033:Saul Bass : Anatomy of Film Design
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545:Morton Dimondstein was a member of the
469:from November 15 to December 31, 1960.
199:in New York, an affiliate group of the
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547:Los Angeles Artist's Protest Committee
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754:"GERALDINE DIMONDSTEIN OBITUARY".
553:in 1965. His name also appears on
535:Dimondstein taught classes at the
478:The Guitar Artistry of Tal Farlow.
25:
852:Veterans Exhibit Works as Artists
442:The Real Life of Sebastian Knight
1226:Israel, Matthew Winder (2019).
1030:Horak, Jan-Christopher (2014).
1303:Israel, Matthew (2013-07-15).
320:Instituto Politécnico Nacional
1:
1230:. University of Texas Press.
712:Griffin, Susan (2016-09-01).
986:Dimondstein, Morton (1951).
654:Dimondstein, Morton (1961).
172:Dimondstein enrolled in the
27:American Artist and Activist
909:"Interview of Felix Landau"
1398:
811:Dunn, Jack (5 June 1943).
328:A Collection of Engravings
1213:First and Second Sessions
1005:. Los Angeles. p. 1.
850:"The Los Angeles Times".
508:Los Angeles (1964 - 2000)
358:Taller de Gráfica Popular
39:
1079:: CS1 maint: location (
1003:The California Quarterly
735:www.phillisgershator.net
625:"Prints and Photographs"
294:from Morton Dimondstein
1382:Yiddish-speaking people
1372:American Ashkenazi Jews
944:Griffin, Susan (2019).
789:www.papillongallery.com
537:California Labor School
296:Portfolio of Engravings
290:Woodcut engraving with
201:American Youth Congress
174:American Artists School
146:National Gallery of Art
77:American Artists School
1260:Los Angeles Free Press
931:Los Angeles Daily News
831:Cite journal requires
551:Los Angeles Free Press
496:semi-nude human form.
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324:David Alfaro Siqueiros
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1377:American secular Jews
1144:www.passagevision.com
1065:Mock, Gladys (1960).
1001:BABB, SANORA (1953).
680:"Industrial Scene #1"
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435:stories published by
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331:by Morton Dimondstein
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785:"Morton Dimondstein"
448:Laughter in the Dark
389:Laughter in the Dark
282:Mexico (1951 – 1954)
1099:Norton Simon Museum
870:California Art Club
467:Norton Simon Museum
254:California Art Club
178:Art Students League
142:Industrial Scene #1
134:Library of Congress
55:New York City, U.S.
990:. Posada Grpahics.
891:Pasadena Star News
643:– via JSTOR.
569:African Tribal Art
502:The Artist at Work
488:
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387:The 1963 cover of
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258:Los Angeles Museum
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118:Morton Dimondstein
34:Morton Dimondstein
1253:"Stop We Dissent"
1237:978-0-292-74830-9
1043:978-0-8131-4720-8
756:Los Angeles Times
603:Los Angeles Times
498:The Three Graces,
491:Italy (1960-1964)
144:(1948) is in the
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67:Los Angeles, U.S.
64:November 27, 2000
16:(Redirected from
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419:(1957) and
379:Los Angeles
370:Luis Arenal
304:McCarthyism
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138:screenprint
101:, activism
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1356:Categories
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1165:Activities
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972:2023-02-12
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689:2022-11-08
665:2022-11-08
609:2022-11-08
580:References
515:Jesse Lott
474:Tal Farlow
416:Saint Joan
276:serigraphs
246:The Attack
126:woodcutter
122:printmaker
1075:cite book
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635:(1): 49.
539:in 1949.
408:Saul Bass
168:Education
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91:sculpture
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521:Activism
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312:Marxists
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637:JSTOR
140:work
1309:ISBN
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1081:link
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1038:ISBN
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837:help
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156:Life
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