25. This is not entirely true. Though these artists are certainly not as well known as, say, Arthur Dove or Marsden Hartley, their modernist contemporaries, who have remained in favor throughout the century, it is more likely that their work will be on display in exhibitions of American art than that of their female counterparts. And, with regard to the WMAA's adoption of the Museum of Modern Art aesthetic, Bruce Lineker stresses the continuing attachment to its earlier realist tendencies: "For six decades of American art, the surveys documented the Whitney Museum's consistent support of the Realist tradition. One can also trace in the exhibition program the emergence of abstraction in the 1930s and 1940s, it's [sic] extraordinary success in Abstract Expressionism of the 1950s, and abstraction's subsequent induction into the mainstream vocabulary of American art. However, even when critical attention overwhelmingly shifted toward abstraction, the program retained its original dedication to realism" (The Annual & Biennial Exhibition Record of the Whitney Museum of American Art, 11-12).
26. Abraham A. Davidson: Early American Modernist Painting 1910-1935 (New York: Da Capo Press, 1994/1981), 89. The collection is now at Yale University.
27. Gail Stavitsky, "A. E. Gallatin's Gallery and Museum of Living Art (1927-1943)," American Art 7. 2, (Spring 1993). The collection was transferred in 1943 to the Philadelphia Museum of Art.
28. Susan Noyes Platt, Modernism in the 1920s: Interpretatons of Modern Art in New York from Expressionism to Constructivism (Ann Arbor MI: UMI Research Press, 1985, 1981), 137.
29. Platt, 19-33.
30. Customs officials had listed it under "kitchen utensils and hospital supplies" and charged Steichen $240 duty when he brought the work back from France (ROES, 243).
31. Adam Weinberg, "The Real Whitney: the Tradition of Diversity," in Nicholas Serota, Sandy Nairne, Adam Weinberg, eds. Views from Abroad: European Perspectives on American Art 3--American Realities, exhibition catalogue (New York: Whitney Museum of American Art, 1995), 25.
32. This approach is well established among sociologists of culture, who have long insisted on the importance of understanding artistic success and canon-formation in terms of social relations of cultural production and institutions--patrons, dealers, critics, museums, art schools, art-critical discourses, and so on, which facilitate and enable (and, of course, sometimes obstruct) such success. With regard to gender, feminists have also answered Linda Nochlin's question, "Why have there been no great women artists?" by focusing on the social relations and institutions which exclude, or permit, women's participation in the making of art. Nochlin's 1971 essay of this title is reprinted in Thomas B. Hess and Elizabeth C. Baker, eds. Art and Sexual Politics (New York: Collier Books, 1973), 1-39. For an interesting example of a study of social networks and patronage in cultural production in a different context, see David Morgan: "Cultural Work and Friendship Work: the Case of 'Bloomsbury,'" Media, Culture and Society 4 : 19-32.
33. Berman suggests that the consequent "top-heaviness of Woodstock on the Whitney exhibition roster and in the permanent collection" was rather unfortunate, and too uncritical on Force's part, ROES, 231.
34. Of her eight paintings, four were de-accessioned after Force's death in 1948 (ROES, 166).
35. For example, Matthew Baigell, A Concise History of American Painting and Sculpture (New York: Harper Collins, 1984); Joshua C. Taylor, The Fine Arts in America (Chicago: University of Chicago Press, 1979).
36. Brian Paul Clamp, "The Eight: Bridging the Art of the Nineteenth and Twentieth Centuries," The Eight (New York: Owen Gallery, 1997), no pagination. Clamp rightly points out that the group of eight artists does not exactly coincide with the group collectively known as the "Ashcan School."
37. For example, Milton W. Brown, American Painting: From the Armory Show to the Depression (Princeton N. J:Princeton University Press, 1955); Avant-Garde Painting and Sculpture in America 1910-25 (Wilmington: Delaware Art Museum, 1975); Abraham A. Davidson, Early American Modernist Painting 1910-1935 (New York: Da Capo Press, 1994).
38. Brown, for example, puts it like this: "After the [first world] war, realism continued, with many changes in character, but as a minor and neglected phase of American art." Unusually, Brook, Kuniyoshi and Pène du Bois do appear in his book, though none of the Whitney women do, 167.
39. The issue of the invisibility of much American art within the discipline of art history was addressed by Hemingway, How the Tale of Art Wags the Dog of History. A marvellous example of this appears in a recent publisher's catalogue, advertising a recent edition of the reprinted essays of the art critic Henry McBride--one of the most important critics in New York between about 1913 and 1950. The advert gives prominent place is given to a line from a review of the book by the art historian, Svetlana Alpers, who says: "Until I read this book I had never heard of [McBride], but his collected reviews make for good reading." It says something, of course, about the fate of early twentieth-century art and art criticism that such a sentence stands as a compliment. See "The Henry McBride Series in Modernism and Modernity from Yale University," publisher's catalogue (New Haven: Yale University Press, n. d. [but 1999]), 3.
40. Quoted by Adam D. Weinberg: "The Real Whitney: the Tradition of Diversity," Views from Abroad: European Perspectives on American Art 3: American Realities (New York: Whitney Museum of American Art, 1997), 28.
41. Loc. cit.
42. New Yorker, listings, 15 September 1997.
43. Nicholas Serota, Introduction, Views from Abroad, 10.
44. Bishop and Driggs are the only women realists here, and, of the group of twenty-four artists I have been considering, they are the only women whose work has continued to be shown, perhaps with the exception of Marguerite Zorach.
45. Other examples of this new attempt to reinstate realism as serious art include the Whitney's 1995 Florine Stettheimer retrospective and 1998 Edward Hopper retrospective; a major exhibition at the National Museum of American Art in Washington D. C. in 1995, Metropolitan Lives: The Ashcan Artists and Their New York; an exhibition of the work of Peggy Bacon at the Kraushaar Galleries, New York, from December 1995; an exhibition of the work of Lucille Corcos at the Susan Teller Gallery, New York, in Fall 1997. And--no doubt a more trivial example--the selection of American realist art to hang on the walls of the home of an extremely rich young couple (played by Mel Gibson and Rene Russo) in the movie Ransom; see Avis Berman, "In the Script, the Art Says 'They're Rich,'" New York Times, 3 November 1996, 43-44.
46. In fact, the Montclair Art Museum, with whose curator I did subsequently exchange letters.
47. Between the Wars: Women Artists of the Whitney Studio Club and Museum (New York: Whitney Museum of Modern Art, 1997).
48. The title of one of several volumes published in the 1970s which undertook this task. See Eleanor Tufts, Our Hidden Heritage: Five Centuries of Women Artists (New York: Paddington Press, 1974).
49. Rozsika Parker and Griselda Pollock, Old Mistresses: Women, Art and Ideology (London & New York: Routledge & Kegan Paul, 1981), ch. 2, "Crafty Women and the Hierarchy of the Arts," 50-81.
50. Paul Mattick Jr, "Beautiful and Sublime: 'Gender Totemism' in the Constitution of Art," and editors' "Introduction," in Peggy Zeglin Brand and Carolyn Korsmeyer, eds., Feminism and Tradition in Aesthetics (Pennsylvania: Pennsylvania State University Press, 1995), 27-48.
51. Carol Duncan, "Virility and Domination in Early Twentieth-Century Vanguard Painting," Artforum (December 1973); reprinted in Duncan, The Aesthetics of Power: Essays in Critical Art History (Cambridge: Cambridge University Press, 1993), 81-108.
52. Griselda Pollock, "Modernity and the Spaces of Femininity," in her Vision and Difference: Femininity, Feminism and the Histories of Art (London & New York: Routledge, 1988), 54.
53. Andreas Huyssen, "Mass Culture as Woman: Modernism's Other," in After the Great Divide: Modernism, Mass Culture and Postmodernism (Bloomington: Indiana University Press, 1986). On the related topic of the gender of modernity, see Rita Felski, The Gender of Modernity (Cambridge: Harvard University Press, 1995), and Barbara L. Marshall, Engendering Modernity: Feminism, Social Theory and Social Change (Boston: Northeastern University Press, 1994), both of which identify the recuperative possibilities for women and for feminism within a "masculinized" but complex modernity.
54. Ann Eden Gibson, Abstract Expressionism: Other Politics (New Haven & London: Yale University Press, 1997), xxvi.
55. Michael Leja, Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s (New Haven & London: Yale University Press, 1993), 258.
56. Leja, 257.
57. Evelyn C. Hankins, "Homes for the Modern: En/Gendering Modernist Display in New York City, 1913-39" (Ph.D. diss., Stanford University, 1999).
58. Bishop has always maintained a certain status in histories of American art, largely because of her importance as a member of the Fourteenth Street School of urban realist painters. Driggs' 1927 painting, Pittsburgh, which has remained on view in the WMAA's permanent exhibition, is unlike the work of her Whitney Studio Club contemporaries in its more modernist, Precisionist, style.
59. The American Century: Art and Culture 1900-1950, Whitney Museum of American Art, April--August 1999.
60. A disconcerting little aside in a recent article about the Whitney Museum of Modern Art in the late 1990s refers to the uncritical buying policies of Gertrude Vanderbilt Whitney, "who, lore has it, would sometimes purchase a second-rate picture in an artist's show, knowing that the best work would find another buyer" (Arthur Lubow, "The Curse of the Whitney," New York Times Magazine, 11 April 1999, 58). See also note 33, above.


This group consiste of 7 Computer Science students in SFSU, below are their profiles.
Code | Plants | Art
🌸
Trying to improve everyday!
Team member with average programming skills working as the back-end lead for this group project.
I love to work hard!I love to do smart business by investing little and gain more, and I love to explore the natural beauty of an environment!
Team member in 648 with basic programming skills working mainly on the back-end side of this group project due to personal interest in back-end development. Also, Git Master responsible along with Cheryl, the team lead, of the deployment of commit on github.
I enjoy tech, movies, good food, and kind animals.
Team Member Role: Back-end and Documentation
Age:22
Future Interests: Bioinformatics
Team member with basic programming skills working mainly on the front-end side of this group project due to personal interest in front-end development.


sfFilebasePluginFile represents each file that is not handled in a special way.
Located in /lib/sfFilebasePluginFile.php (line 20)
SplFileInfo | --sfFilebasePluginFile
| Class | Description |
|---|---|
| sfFilebasePluginImage | sfFilebasePluginImage is a special sfFilebasePluginFile which represents an image file. |
| sfFilebasePluginDirectory | sfFilebasePlugin directory represents a directory |
Reference to files' Filebase-instance
sfFilebasePluginFileObject reference, only not null if file was opened for reading/writing.
Constructor
Changes the access permissions of a sfFilebasePluginFile
Copies a file to the given destination.
Trys to delete a file from fs.
Returns true if file exists and is writable.
Returns true if file exist in filesystem.
Returns filename, as seen absolutely from webroot.
Retrieves Content-Type (mime-type) of File.
Returns extension of file
Returns a new (child of) sfFilebasePluginFile. It returns an instance, not regarding if the file exists or not. So you can fetch an instance and create the underlying file by sfFilebasePlugin-methods.
This method checks if file is a directory, an image a link ... but beware, some attributes can only be calculated if the file really exists in file system.
For example, if you want to retrieve a directory that does not exists, an instance of sfFilebasePluginFile is recieved.
This behavior is simple and logically correct, but you have to keep it in mind: sfFilebasePlugin cannot forecast what files you want to create. It is probably more confusing for windows users where files are mostly identified by its extension.
If the dir exists, you'll get a sfFilebasePluginDirectory.
Generates md5 hash from pathname.
Returns a human readable string file type.
This could be for example "jpeg image" or "wma audio"
Returns Mime-Type (Content-Type) of file or default if mime type cannot be determined.
Returns the nesting level of the file, relative to its base filebase directory.
Converts an absolute Pathname to a relative one, as seen from sfFilebasePlugin-Directory.
If Format is string, Size will be formatted (kb, mb ...)
Returns true if a file is hidden or null if that cannot be determined (e.g. unter windows).
Returns true if sfFilebasePluginFile is an
image file. Used to factory a sfFilebasePluginImage instance by sfFilebasePlugin:: getFilebaseFile()
Returns true if file is a link
Returns true if file is read- and write-able.
Returns true if sfFilebasePluginFile is a
web image file. Used to factory a sfFilebasePluginImage instance by sfFilebasePlugin:: getFilebaseFile()
Checks if this file is a child of the given filebase directory.
Moves a file to the given destination file or directory.
Opens the file for read/writing
Renames a file.
ToString method
Inherited From SplFileInfo (Internal Class)
constructor __construct ( $file_name )
getATime ( )
getBasename ( [$suffix = ] )
getCTime ( )
getFileInfo ( [$class_name = ] )
getFilename ( )
getGroup ( )
getInode ( )
getLinkTarget ( )
getMTime ( )
getOwner ( )
getPath ( )
getPathInfo ( [$class_name = ] )
getPathname ( )
getPerms ( )
getRealPath ( )
getSize ( )
getType ( )
isDir ( )
isExecutable ( )
isFile ( )
isLink ( )
isReadable ( )
isWritable ( )
openFile ( [$open_mode = ], [$use_include_path = ], [$context = ] )
setFileClass ( [$class_name = ] )
setInfoClass ( [$class_name = ] )
__toString ( )
Documentation generated on Mon, 25 May 2009 15:21:37 +0200 by phpDocumentor 1.4.2


| I l@ve RuBoard |
The C++ standard library provides not only the containers for the STL framework, but also some containers that fit some special needs and provide simple, almost self-explanatory interfaces. You can group these containers into
The so-called container adapters
These containers adapt standard STL containers to fit special needs. There are three standard container adapters:
Stacks
Queues
Priority queues
Priority queues are queues in which the elements are sorted automatically according to a sorting criterion. Thus, the "next" element of a priority queue is the element with the "highest" value.
A special container, called a bitset
A bitset is a bitfield with an arbitrary but fixed number of bits. You can consider it a container for bits or Boolean values. Note that the C++ standard library also provides a special container with a variable size for Boolean values: vector<bool>. It is described in Section 6.2.6.
| I l@ve RuBoard |