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                <text>CONSAGRA--Francesca. Curator Emerita at the Blanton Museum of Art, died peacefully in Austin on December 16, 2018 after a valiant battle with ovarian cancer. She was 60. A daughter of Pietro Consagra, one of Italy's most prominent post-war abstract sculptors, and Sophie Chandler Consagra, Director and President of the American Academy in Rome, Francesca embodied the best of both cultures and families in her wonderful blend of sophisticated creativity and down- to-earth pragmatism. A brilliant scholar and curator of Italian Baroque and Northern Renaissance prints and paintings, Francesca brought deep passion and intellectual rigor to all she did. After graduating cum laude from Connecticut College, she received her Ph.D. in Art History from Johns Hopkins University. Following fellowships at the National Gallery, the Metropolitan Museum, and the Philadelphia Museum of Art, Francesca was appointed the Philip and Lynn Straus Curator of Prints and Drawings at the Frances Lehman Loeb Art Center, Vassar College, where she was also a member of the faculty in the Art Department. From 1999-2008, she served as Curator and Head of the Department of Prints, Drawings, and Photographs at the Saint Louis Art Museum and subsequently became the Senior Curator at the Pulitzer Foundation for the Arts. In 2012, Francesca joined the Blanton Museum of Art at the University of Texas at Austin, where she was the Senior Curator of Prints, Drawings, and European Paintings. Her numerous exhibitions and publications reflected Francesca's broad historical and cultural knowledge as well as her gift for communicating complex ideas with grace and eloquence. Francesca's warmth, kindness, intelligence, and love of life were reflected in her fervent engagement with the world around her. Beauty in its many forms filled her soul, from a master drawing or a second-century Buddha, to a 'Sconset sunset or a swim off the beaches of Crete. Francesca was deeply loved by her family and friends, who treasured her generosity of spirit, her commitment to the greater good, her fabulous sense of humor, her resolute honesty, her courage, and her strength. Francesca is survived by her husband William Herndon, the love of her life, and her beloved son John Ray.nnPublished in The New York Times on Dec. 21, 2018</text>
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                <text>1954-October 30, 1995 nnAbout the ArchivenThis is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.nOccasionally the digitization process introduces transcription errors or other problems. Please send reports of such problems to archive_feedback@nytimes.com.nnnNovember 1, 1995, Page 00019The New York Times ArchivesnnJeffrey Schaire, a former editor in chief of Art and Antiques magazine, died on Monday at his home in Manhattan. He was 41.nThe cause was AIDS, said his sister, Paula.nMr. Schaire was born in Fresh Meadows, Queens. He graduated from the State University College at Binghamton and earned a master's degree in English literature from the University of British Columbia in Vancouver. After working at Farrar, Straus &amp; Giroux and at Harper's magazine, he joined Art and Antiques in 1983, and became editor in chief in 1987.nUnder his guidance, the magazine invited M. F. K. Fisher, D. M. Thomas, John Updike, Pete Hamill and others to write on art, and broke the story of Andrew Wyeth's unknown "Helga" paintings. After resigning in 1992, Mr. Schaire served briefly as editor of Body Positive, a magazine for those infected with the H.I.V. virus.nIn addition to his sister, of San Francisco and Manhattan, he is survived by a brother, Scott, of Atlanta.nA version of this obituary</text>
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                <text>FLOWERS &amp; GIFTSnJoan L. Hull, 91, of Rhinebeck and formerly Hyde Park, passed away on November 5, 2018.nn nnBorn in Brooklyn, New York on August 11, 1927 to Christine and J. Parker Hull, Joan grew up on an apple farm in Clintondale, New York. nn nnAs a young girl, Joan, attended Westtown School in Westtown, Pennsylvania graduating in 1945.  In 1949 Joan earned a degree from Earlham College, Richmond, Indiana and continued her education at Katherine Gibbs School, New York, New York, graduating in 1951.  Afterwards, Joan moved to Hyde Park, New York with her parents and began working at Western Publishing Company, Poughkeepsie, New York in 1952.  While at Western Publishing she was employed as an executive secretary until her retirement in 1982.  Joan continued her career as an administrative assistant in the art department at Vassar College until 1992 after which she retired and took up residence in Rhinebeck, New York.  Joan always said her years working with the art faculty at Vassar were her greatest joy and best memories.nn nnAfter retirement, Joan developed a passion for genealogy and spent countless hours searching historical records, compiling information from grave site tombstones, and documenting cultural and historic data from Friends’ Cemeteries.  Additionally, Joan was a golfer and enjoyed her membership at Dutchess Golf Club in Poughkeepsie.nn nnJoan touched many people.  She was a loyal friend to many and a devoted daughter who took great care of her parents until their passing. She loved a good laugh and enjoyed sipping an occasional Canadian Club with friends. Her laugh and sense of humor will be remembered, always.  Her later years were spent quietly at the Baptist Home at Brookmeade in Rhinebeck, New York where she died peacefully.nn nnJoan is survived by many dear friends.nn nnThere are no calling hours.</text>
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                <text>The New York TimesnBy Ken JohnsonnFeb. 10, 2013nnRichard Artschwager, a painter and sculptor whose witty, contradictory mixing of artistic genres made him one of the most critically admired artists to emerge in the 1960s, died early Saturday in Albany. He was 89.nnHis death, at a hospital, followed a recent stroke, his wife, Ann, said.nnThe death also followed by less than a week the closing of a career retrospective of Mr. Artschwager’s work at the Whitney Museum of American Art in Manhattan, his second to be mounted there. He lived in Hudson, N.Y., in Columbia County.nnAt a time when most artists worked in clearly determined styles, Mr. Artschwager slyly confounded the usual categories. His most famous sculpture, “Table With Pink Tablecloth,” from 1964, is something of a cross between Pop Art and a Minimalist cube by Donald Judd: a box neatly veneered with pieces of colored Formica to create the image of a wooden table with a square pink tablecloth draped on it.nnMr. Artschwager went on to produce variations on the forms of chairs, tables, doors and other domestic objects in styles ranging from severely geometric to surrealistically distorted.nnIn the late 1960s, he invented an abstract form he called a “blp,” a small, black, oblong shape that he would recreate in various materials and install in unexpected places to punctuate, mysteriously, gallery and museum spaces. He also placed dozens of “blps,” in the form of reliefs, stencils or decals, outside museums for viewers to go hunting for or stumble upon. Some are to be found on the elevated High Line park in Lower Manhattan near the site of the Whitney’s future home.nnMr. Artschwager’s paintings were often paradoxical. He painted black and white copies of found photographs — group portraits, pictures of buildings and other anonymous images — on textured Celotex panels, a common building material. Ostentatious frames made of painted wood, Formica or polished metal were usually part of the total piece.nnHe once said: “Sculpture is for the touch, painting is for the eye. I wanted to make a sculpture for the eye and a painting for the touch.”nnRichard Ernst Artschwager was born on Dec. 26, 1923, in Washington. His father, a German immigrant, was a botanist, trained at Cornell University</text>
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                <text> his mother, a Ukrainian immigrant, was an artist who studied at the Corcoran School of Art in Washington and at the National Academy of Design in New York. In 1935, the family moved to Las Cruces, N.M., a better climate for the artist’s father, who had tuberculosis.nnLike his father, Mr. Artschwager studied at Cornell, concentrating on mathematics and sciences, though he was deeply interested in art. Before completing his degree he was drafted into the Army in 1944 and saw combat in Europe, suffering a slight wound at the Battle of the Bulge. Afterward he was assigned to counterintelligence in Vienna, where he met and, in 1946, married his first wife, Elfriede Wejmelka.nnBack in the United States after the war, Mr. Artschwager completed his bachelor’s degree at Cornell but soon, with his wife’s strong encouragement, decided to become an artist. He moved to New York and began attending the Studio School of the painter Amédée Ozenfant, who, along with Le Corbusier Foundation in Paris, had founded a form of late Cubism called Purism.nnBy then the couple had a child, and Mr. Artschwager supported his family as a bank clerk and then a furniture maker.nnIn the early ’50s he stopped making art and went into business building furniture until a fire destroyed his workshop in 1958. Resuming art making, he had his first exhibition — of paintings and watercolors of Southwestern landscapes — at the Art Directions Gallery in New York.nnIn 1960, an exhibition of assemblages by the sculptor Mark di Suvero inspired Mr. Artschwager to begin using his woodworking skills to make his own sculpture. A year later, a photograph picked up on the street prompted him to start making paintings based on black and white photographs.nnA big break came when he sent, unsolicited, a note and slides to the Leo Castelli Gallery, New York’s leading showcase for new art. The gallery quickly took him on for a group show that included Roy Lichtenstein, Jasper Johns and Andy Warhol. He remained with Castelli for 30 years.nnIt was at the Castelli gallery, in 1965, that Mr. Artschwager had the first show of work that was recognizably his own. During the ensuing decades he participated in many important international exhibitions, including the Venice Biennale and Documenta, in Kassel, Germany.nnThe Whitney produced its first Artschwager retrospective in 1988-89. It later traveled to San Francisco, Los Angeles, Madrid, Paris and Düsseldorf. His last solo exhibition with Gagosian Gallery was last fall at its branch in Rome featuring sculptures of pianos.nn“Early and late, his work stood out for its blunt, mute weirdness,” Holland Cotter wrote in The New York Times in reviewing the recent Artschwager retrospective at the Whitney. A 1963 sculpture, “Portrait II,” for example, resembles a bedroom dresser with no drawers and a sheet of Formica where a mirror might be. The table in “Table Prepared in the Presence of Enemies” (1993) “looks like a low-rise guillotine,” Mr. Cotter wrote.nnHe added: “Violence is implicit in a lot of Mr. Artschwager’s art, which may be the most intriguing thing about it, the element that gives bite to what would otherwise pass for Magrittean whimsy.”nnMr. Artschwager’s political views were less apparent. In 2003, he painted three identically framed portraits, of a blank President George W. Bush, a smiling Osama bin Laden and a grim-looking one of himself. “Each painting looks cracked, creviced and soiled, as if just dug up from rubble,” Mr. Cotter observed.nnMr. Artschwager was married four times, the first three marriages ending in divorce. In addition to his wife, the former Ann Sebring, he is survived by his daughters Eva Artschwager and Clara Persis Artschwager</text>
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                <text> a sister, Margarita Kay, and a grandson.nnDavid Nolan, whose Manhattan gallery has shown drawings by Mr. Artschwager, said the artist had recently exhibited new paintings and works on paper that he created on a return to New Mexico, inspired in part by the colors of the landscape there he had known so well as a boy.nnWilliam McDonald contributed reporting.nnA version of this article appears in print on Feb. 11, 2013, on Page D8 of the New York edition with the headline: Richard Artschwager, Painter and Sculptor, Dies at 89. Order Reprints | Today’s Paper | Subscribe</text>
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                  <text>This section is pretty self-explanatory.  Like just about with everything on this site I am way behind.  If this site gets to stay active after I die (this possibility sits with Vassar College), eventually everyone on the site could be in this section.  I am thinking if it stays active, whether I would like to have someone else add people to this section as they die, including me.  Of Course this information would have had to cross their paths. That is something I need to think about.  If I arrange for that to happen I would have that person or those people indicate that they are the ones who added a particular name.</text>
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                <text>New York Timesnby Holland Cotter February 20, 2000  nnRichard Rosenblum, a sculptor and a collector of Asian art, died on Tuesday at his home in Newton, Mass. He was 59.nnLink -  http://www.nytimes.com/2000/02/20/nyregion/richard-rosenblum-59-sculptor-and-a-collector-of-asian-art.html</text>
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                <text>Dr. Paul HershensonnnAGE: 83 • White PlainsnnDr. Paul Hershenson, a longtime practicing internist and pulmonologist in White Plains, N.Y., died on March 8, 2017 at his home in Manhattan at the age of 83. The cause was Progressive AML. Born in 1933 in Brooklyn, Dr. Hershenson graduated from City College of New York and the Chicago Medical School, completing his residency training at Montefiore Hospital in the Bronx. He began his private practice in Ardsley, N.Y. in 1964, relocating to White Plains in 1978 and practicing full time for 52 years until becoming ill last August. He was affiliated with White Plains Hospital all his professional life. Dr. Hershenson was an avid bicyclist who spent vacations riding in the mountains of Europe and the United States. He was a frequent visitor at Manhattan art galleries and museums, as well as the Metropolitan Opera. Devoted to staying abreast of the latest developments in medicine, he also read fiction for pleasure and could usually be found with a book. Survivors include a daughter, Nina Parker (Chris), of East Islip, N.Y.</text>
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                <text>Charlie Carriero. Charlie Carriero was married to Nancy Glaser, who is Trudy Sullivan's daughter. Trudy was Paul, Teddy and Billie Sullivan's sister and is now dead. Nancy Glaser is the sister of Patty (Glaser) Orlowsky.  Charlie Carriero's obituary can be found in the Cape Cod Times, July 1, 2003.nn"Charles P. “Chuck” Carreiro, 50, who leaves a brother on the Cape, died unexpectedly Friday at his company after a brief illness.He was the husband of Sheila Ann Carreiro and the former husband of Arlene Jane (Ahola) Carreiro.Born in Norwood, Mass., he graduated from Marshfield High School. He lived in Cumberland for the past 16 years after living in Foxboro. He was owner and operator of Detailing Plus Car Reconditioning in Franklin for the past 14 years and was previously a machinist at Bird and Sons in North Walpole for 20 years. He enjoyed cars, woodworking, spending time on boats, fishing and making models."</text>
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                <text>Michael Mazur. -------- 11/02/1935 - 08/18/2009 -------- Obituary from the New York Times , August 29, 2009 ---------- Michael Mazur, a relentlessly inventive printmaker, painter and sculptor whose work encompassed social documentation, narrative and landscape while moving back and forth between figuration and abstraction, died on Aug. 18 in Cambridge, Mass. He was 73 and lived in Cambridge and Provincetown, Mass.nnThe cause was congestive heart failure, said Mary Ryan, his New York dealer.nnMr. Mazur first came to public notice in the early 1960s with two series of etchings and lithographs depicting inmates in a mental asylum in Howard, R.I. The series, “Closed Ward” and “Locked Ward,” rendered with the hand of a master draftsman, showed human beings in unbearable torment.nnThese lost souls, John Canaday wrote in The New York Times, “have the terrible anonymity of individuals who cannot be reached, whose ugly physical presence is only the symptom of a tragic spiritual isolation.”nnMr. Mazur’s restless artistic temperament led him to explore a variety of styles and media, shuttling between realism and abstraction. He produced narrative paintings like “Incident at Walden Pond,” a triptych from the late 1970s depicting the aftermath of a rape, and, beginning in the 1990s, abstract landscapes based on his own vascular system and on Chinese landscapes of the 12th to 15th centuries.nAfter seeing an exhibition of Degas monotypes at the Fogg Museum in 1968, he began exploring that medium, most notably in the monumental Wakeby landscapes of 1983, depicting Wakeby Lake on Cape Cod, and in a series of illustrations for Robert Pinsky’s translation of Dante’s “Inferno,” published in 1994.n“It’s hard to characterize him because he was always trying new things,” said Clifford S. Ackley, the chairman of prints, drawings and photographs at the Museum of Fine Arts, Boston. “He did not fall into the trap of repeating himself the way so many older artists do. In the last week of his life he was doing pen-and-ink drawings of flowers and gardens.”nnMichael Burton Mazur grew up on the Upper East Side of Manhattan and attended the Horace Mann School in the Bronx, where he belonged to an art club whose members included the future curator Henry Geldzahler and the future New Yorker cartoonist Ed Koren.nnWhile attending Amherst College he studied with the printmaker and sculptor Leonard Baskin, who was teaching at Smith College. After taking a year off to study in Italy, where his lifelong fascination with Dante began, he received a bachelor’s degree in 1957 and went on to earn bachelor’s and master’s degrees in fine art from the Yale School of Art and Architecture.nWhile at Yale he married Gail Beckwith, a poet known by her married name. She survives him, as do their two children, Dan, of Cambridge, and Kathe, of Los Angeles, and two grandchildren.nnMr. Mazur taught at the Rhode Island School of Design and Brandeis University from 1961 to 1975 while exhibiting frequently in New York and Boston.nnIn 2000 a traveling retrospective of his prints opened at the Museum of Fine Arts, Boston. The catalog, “The Prints of Michael Mazur With a Catalogue Raisonné, 1956-1999,” was published that year. “I’ll Tell What I Saw,” a selection of excerpts from Dante’s “Divine Comedy” illustrated by Mr. Mazur, is to be published by Sarabande Books in November.nnAlthough deadly serious as an artist, Mr. Mazur had a sly wit. In 1984 he wrote an article for the Op-Ed page of The New York Times proposing a W.P.A.-style project under which artists could decorate nuclear warheads, just as Renaissance artists embellished armor and weapons.nn“It is not hard to imagine the vivid colors, bas reliefs, even graffiti, that would make spectacles of beauty of those dull cones,” he wrote. In time, he suggested, the warheads would find their way into private collections and museums, thereby ending the possibility that they might be deployed.</text>
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&#13;
For reproduction or use inquires, or for any questions about the site, contact Harry Roseman.</text>
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                  <text>This section is pretty self-explanatory.  Like just about with everything on this site I am way behind.  If this site gets to stay active after I die (this possibility sits with Vassar College), eventually everyone on the site could be in this section.  I am thinking if it stays active, whether I would like to have someone else add people to this section as they die, including me.  Of Course this information would have had to cross their paths. That is something I need to think about.  If I arrange for that to happen I would have that person or those people indicate that they are the ones who added a particular name.</text>
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