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Withdrawal/Redaction Sheet
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
001. memo
Melanne Verveer to the President re: National Medal of the Arts
06/02/1995
b(6)
[partial] (2 pages)
002. memo
Melanne Verveer to the President re: National Medal of the Arts
06/02/1995
b(6)
[partial] (2 pages)
003. bio
re: nominee (1 page)
n.d.
b(6)
004. bio
re: nominee (1 page)
n.d.
b(6)
005. form
re: nominee (1 page)
n.d.
b(6)
006. bio
re: nominee (3 pages)
n.d.
b(6)
007. bio
re: nominee (1 page)
n.d.
b(6)
008. bio
re: nominee (1 page)
n.d.
b(6)
009. memo
re: non-selection (2 pages)
08/11/1999
b(6)
010. list
re: non-selection (1 page)
n.d.
b(6)
01 la. memo
Melanne Verveer to the President re: National Humanities Medals
08/11/1999
b(6)
[partial] (1 page)
01 1b. memo
Melanne Verveer to the President re: National Humanities Medal
08/11/1999
b(6)
[partial, page 2 in full] (2 pages)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Melanne Verveer
OA/Box Number: 20361
FOLDER TITLE:
Arts [1]
2013-0534-S
rc1679
RESTRICTION CODES
Presidential Records Act - [44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
Files of Melanne Verveer,
Assistant to the President and Chief of Staff to the First Lady
Box 2: File Folders
Archived from OEOB 100 by Robert Mizani on January 3, 2001
Sculpture Magazine
-Arts
ARTnews Magazine
-Arts
1994 National Medal of Arts
-Arts
1994 National Medal of Arts
-Arts
1995 National Medal of Arts
-Arts
President's Comm. on the Arts and Hum. Members' Briefing Book for Meeting XLII
-Arts
Confirmation of William J. Ivey, Chairman of the Nat. End. for the Arts
-Arts
File for Nat. End. for the Arts Medals
-Arts
Enclosures filed in # 20361
Oversize Attachments
NAKA # 17594
Arts
NCA /NEH file
NEA medals
1999
PHOTOCOPY
THE WHITE HOUSE
WASHINGTON
DATE: 6/30/95
TO:
Melanne Verveer
FROM: JOHN D. PODESTA
Assistant to the President and
Staff Secretary
THE PRESIDENT HAS SEEN
6/22/95
THE WHITE HOUSE
WASHINGTON
June 16, 1995
MR. PRESIDENT:
The attached notebook lists the recommendations for the
National Medals of Arts. As usual, the National Council on
the Arts has submitted twelve "first priority" and sixteen
"second priority" nominees. No more than twelve medals
may be awarded.
The Council strongly recommends those on the first list but
you may make substitutions from the second list.
According to Melanne Verveer, the First Lady has looked at
both lists. The First Lady believes the Cantors (from the
second list) merit the award. They are major philanthropists
and have supported the White House Sculpture Garden. The
First Lady also likes George Burns (from the second list) and
Katherine Hepburn (first list).
The awards are to be conveyed in October. However, the
final nominees must be properly vetted before that time, so it
would be useful for you to act upon this as soon as is
convenient.
Todd Stern DDS
Phil Caplan MpCK
die Lu Luis & FULL CALLING
RK
(Doarming)
THE PRESIDENT HAS SEEN
sbcer
THE WHITE HOUSE
WASHINGTON
95JUN 2 P3: 57
June 2, 1995
MEMORANDUM FOR THE PRESIDENT
FROM:
MELANNE VERVEER
RE:
NATIONAL MEDAL OF ARTS
The National Council on the Arts has made its recommendations for the 1995 National
Medals of Arts.
Included in this binder are the first and second priority lists of recommendations
generated by the Council. The names are listed alphabetically and biographies follow. The
Council strongly recommends the artists and patrons noted on the first priority list. However,
as you know, substitutions can be made by the President from the nominees on the second
list.
The National Medal of Arts is the highest award that the President can bestow on our
nation's artists and art patrons. The Medal was established by the National Foundation on the
Arts and Humanities Act of 1965. It was created to award "individuals or groups who are
deserving of special recognition by reason of their outstanding contributions to the excellence,
growth, support and availability of the arts in the United States" (NFAH Act of 1965). The
Act empowers the President to choose the recipients of the Medals on the basis of the
recommendations made by the National Council on the Arts. No more than twelve Medals
may be awarded per year.
Also included in this binder, for your information, is a list of previous National Medal
of Arts recipients.
1995 Nominees
MELANNE VERVEER
her. President -
The First tody has
looked al me list and
believes mat me
Cantors (who are on The
acternate lise) meit
me award. In addition to
mein ruaja philan thogie
work else where, May 've
the W.H. Decrepture Garden
She also likes George Burns
on me second list, in addition
to Kate Hepburn in me
media acts category.
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
001. memo
Melanne Verveer to the President re: National Medal of the Arts
06/02/1995
b(6)
[partial] (2 pages)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Melanne Verveer
OA/Box Number: 20361
FOLDER TITLE:
Arts [1]
2013-0534-S
rc1679
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
CONFIDENTIAL
THE WHITE HOUSE
WASHINGTON
June 2, 1995
PRESIDENTIAL ACTION MEMORANDUM
FROM:
MELANNE VERVEER
Please choose a total of twelve recipients for the 1995 National Medal of the Arts from the
following first and second priority lists of nominees generated by the National Council on the Arts.
Biographies of each nominee follow under specified tabs.
FIRST PRIORITY NOMINEES
TAB# Nominee
Field
Age
Residence
Birthplace
APPROVE
1
Licia Albanese
Opera/
82
CT
Italy
Musical Theatre
(b)(6)
[00 17
3
Gwendolyn Brooks
Literature
78
IL
KS
4
David Diamond
Music
80
NY
NY
5
James Ingo Freed
Design Arts
65
NY
Germany
Katherine Hepburn Media Arts
88
NY
CT
Roy Lichtenstein
Visual Arts
72
NY
NY
8
Meadows
Patron Organization
Location: Dallas, Texas
Cantors
Foundation of TX
Arthur Mitchell
Dance
61
NY
NY
10
Ellen Stewart
Arts Professional/
76
NY
IL
Leader
11
Margaret Tafoya
Folk Arts
91
NM
NM
'2
Urban Gateways
Arts Organization
Location: Chicago, IL
SECOND PRIORITY NOMINEES
AB# Nominee
Field
Age
Residence
Birthplace
APPROVE
(b)(6)
15
Livingston Biddle
Arts Professional/
77
DC
PA
Leader
16
George Burns
Media Arts
99
CA
NY
17
Harry Callahan
Visual Arts
83
GA
MI
%
Iris and
Individual Patrons
79
NY
B. Gerald Cantor
CA
NY
19
Ossie Davis and
Theatre
78
NY
GA
Rubbie Dee
71
NY
OH
20
Irene Diamond
Individual Patron
85
NY
PA
(b)(6)
1
23
Milton Katims
Music
86
WA
NY
24
Bill Monroe
Folk Arts
84
TN
KY
25
Music Educators
Arts Organization
Location: Reston, VA
National Conference
26
Rockefeller
Patron Organization
Location: New York, NY
Foundation
27
Maurice Sendak
Literature
67
CT
NY
(b)(6)
next
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
002. memo
Melanne Verveer to the President re: National Medal of the Arts
06/02/1995
b(6)
[partial] (2 pages)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Melanne Verveer
OA/Box Number: 20361
FOLDER TITLE:
Arts [1]
2013-0534-S
rc1679
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
CONFIDENTIAL
THE WHITE HOUSE
WASHINGTON
top
June 2, 1995
6/29/98
PRESIDENTIAL ACTION MEMORANDUM
FROM:
MELANNE VERVEER
Please choose a total of twelve recipients for the 1995 National Medal of the Arts from the
following first and second priority lists of nominees generated by the National Council on the Arts.
Biographies of each nominee follow under specified tabs.
FIRST PRIORITY NOMINEES
TAB# Nominee
Field
Age
Residence
Birthplace
APPROVE
1
Licia Albanese
Opera/
82
CT
Italy
Musical Theatre
OSSIE DAVIS
non
[002] ]
(b)(6)
3
Gwendolyn Brooks Literature
78
IL
KS
4
David Diamond
Music
80
NY
NY
5
James Ingo Freed
Design Arts
65
NY
Germany
Katherine Hepburn Media Arts
88
NY
CT
Roy Lichtenstein
Visual Arts
72
NY
NY
CANTORS
8
Meadows
Patron Organization
Location: Dallas, Texas Cantors
Foundation of TX
Arthur Mitchell
Dance
61
NY
NY
George BURNS
10
Ellen Stewart
Arts Professional/
76
NY
IL
Leader
11
Margaret Tafoya
Folk Arts
91
NM
NM
12
Urban Gateways
Arts Organization
Location: Chicago, IL
SECOND PRIORITY NOMINEES
AB# Nominee
Field
Age
Residence
Birthplace
APPROVE
(b)(6)
15
Livingston Biddle
Arts Professional/
77
DC
PA
Leader
16
George Burns
Media Arts
99
CA
NY
17
Harry Callahan
Visual Arts
83
GA
MI
%
Iris and
Individual Patrons
79
NY
B. Gerald Cantor
CA
NY
19
Ossie Davis and
Theatre
78
NY
GA
Rubbie Dee
71
NY
OH
20
Irene Diamond
Individual Patron
85
NY
PA
(b)(6)
23
Milton Katims
Music
86
WA
NY
24
Bill Monroe
Folk Arts
84
TN
KY
25
Music Educators
Arts Organization
Location: Reston, VA
National Conference
26
Rockefeller
Patron Organization
Location: New York, NY
Foundation
27
Maurice Sendak
Literature
67
CT
NY
(b)(6)
nut,
Biographies:
First Priority
ALBANESE, Licia.
competition over three hundred other entrants. Her initial
Soprano. Born 22 July 1913 in Bari, Italy. Married Italian-
operatic appearance (Teatro Lirico, Milan, 1934, as an emer-
American businessman Joseph Gimma, 1945; studied with
gency substitute) and her "official" debut (Parma, 1935) were
Emanuel De Rosa in Bari and with Giuseppina Baldassare-
as Butterfly. She was soon championed by such artists as
'edeschi in Milan; professional debut in 1934 at the Teatro
Gigli (who requested her for Mimi when he was about to
Lirico in Milan, replacing a soprano who had become ill
record La bohème) and Muzio, whom she succeeded as Italy's
during the first act in the part of Cio-Cio-San in Madama
principal interpreter of the title role of Refice's Cecilia. In the
Butterfly; debut at Parma as Cio-Cio-San. 10 December 1935;
first five years of her career, Albanese sang at Teatro alla
Metropolitan Opera debut in the same role, 9 February 1940:
Scala, Covent Garden (debut 1937, Liù), and the Rome Op-
received Order of Merit in Italy; received from Pope Pius XII
era, while working regularly in smaller houses in order to
award of the Lady Grand Cross of the Equestrian Order of
perfect her repertory. She went as far as to sing Elsa in
the Holy Sepulchre: final Metropolitan Opera performance
Lohengrin at Modena but learned that Wagner, even in Ital-
on 16 April 1966; a noted Puccini singer, her other roles
ian, was not for her.
include Marguerite in Faust. Violetta in La Traviata, and
In 1939, when a number of distinguished Italian artists left
Desdemona in Otello.
New York for Italy to fulfill their engagements at the Teatro
alla Scala, unaware that Mussolini would forbid them to leave
Publications
the country again, Albanese went in the opposite direction.
Seeking a career in America, she managed to get herself to
About ALBANESE: books-
Portugal and onto a boat for the United States, armed only
with the enthusiasm of youth and her great talent.
Celletti, R. Le grandi voci. Rome, 1964.
Almost from the moment of her American debut at the
Ewen. D. Musicians since 1900. New York, 1978.
Metropolitan (9 February 1940, again as Cio-Cio-San) a spe-
cial rapport existed between her and the New York public.
articles-
Despite the fact that this was the Metropolitan's 246th per-
formance of Madama Butterfly, Albanese was only the third
Green. L. "Licia Albanese and Verismo: 'I Always Tell the
Italian soprano to perform the part with the company (and
Truth'." The Opera Quarterly 7, no. 4 (1990-91): 53.
her two predecessors, Claudia Muzio and Augusta Oltrabella,
had only sung it once each). Albanese struck an authentic
chord not previously touched, and no singer ever became
*
*
more beloved by the Italian-American opera audience. She
endured until the closing of the old Metropolitan Opera
Licia Albanese had what she called "tricks for beauty": vocal
House in 1966 in spite of the fact that her bright, penetrating,
and histrionic effects that were entirely legitimate, apposite,
emotionally charged voice, with its strong top, was not really
heartfelt, and uniquely hers, ways in which she shaped
large enough to fill that huge theater as historically great
phrases ineffably and unforgettably, and movements (never,
voices have done. Albanese nonetheless made her points un-
in her case, anything as obvious as the stock operatic "ges-
equivocally, with the most detailed and nuanced artistry,
ture") that both illuminated a character's deepest emotions
and her most delicate moments registered clearly. Although
and profoundly stirred those of her hearers.
remembered most vividly for her Puccini heroines and her
Nowhere was Albanese's mastery of her art more palpable
Toscanini-endorsed Violetta, she also loved to sing Mozart,
than during the moments that required her to "expire" on-
and brought a Mediterranean warmth and piquancy to his
stage, something she invariably accomplished with the most
operas that was quite beyond the "Viennese School" singers.
exquisite expressivity, whether called upon to demonstrate a
Through the Puccini Foundation, begun with her late hus-
gradual. quiet fading away (Mimi. La bohème), a final fever-
band. Joseph Gimma, Albanese works tirelessly for the fur-
ish outburst (Violetta, La traviata), an intense losing battle
therance of those artistic values she considers indispensable
to cheat death (Manon Lescaut), or an act of unbearable
to the survival of opera as an art form. In 1985 and 1987 she
poignancy such as the suicide of Butterfly.
stepped out of retirement to enjoy a personal triumph in New
The effect Albanese made as Cio-Cio-San in Madama But-
York and Houston revivals of Sondheim's Follies. singing
terfly after she had sung the geisha's final words, made all
"One More Kiss" with prodigal tone and definitive under-
the ceremonial preparations for her hara-kiri, committed the
standing.
act behind the shoji, and knocked the screen over to writhe
-Bruce Burroughs
and die before our eyes, remains one of the most indelible
visual memories ever created by any opera singer. With her
legs bound according to ritual, Butterfly's arms were still
free to express both the pain of her mortal wound and the
ascendancy of her spirit, which exuits because she has re-
deemed her disgraced honor by making the ultimate sacri-
fices: giving up her son to his father and taking her own life.
In a specially designed kimono with very large, beautifully
colored sleeves, Albanese was in fact a butterfly, fluttering-
but not meiodramatically-until the moment there was no
life remaining. She appeared to respond to the offstage voice
of Pinkerton calling her name while at the same time making
it clear that the temporal world was fast sliding away from
her and that the voice might actually be one summoning her
to the next plane-an altogether remarkable achievement.
Albanese was the fifth of seven children in a close-knit
southern Italian family, all of whom had good voices. She
was the one with ambition, instinct, and passion, and she
began to study singing in her teens. She flourished under the
tutelage of Giuseppina Baldassare-Tedeschi in Milan and at
twenty-two won the first Italian government-sponsored vocal
Withdrawal/Redaction Marker
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DOCUMENT NO.
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003. bio
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n.d.
b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Melanne Verveer
OA/Box Number: 20361
FOLDER TITLE:
Arts [1]
2013-0534-S
rc1679
RESTRICTION CODES
Presidential Records Act - [44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
BIOGRAPHICAL INFORMATION
GWENDOLYN BROOKS
Gwndolyn Brooks has been enriching American culture with her
poetry for over forty years. The impact she has had on her
readers as well as her lifelong contribution to black American
literature cannot be measured in physical terms. One gets a
sense of her success from the overflowing number of requests she
receives to give lectures and readings.
The Brooks family moved from Topeka, Kansas to Chicago, Illinois
shortly after the birth of their child Gwendolyn in 1917.
Gwendolyn graduated in 1934 from Englewood High School. She went
on to graduate from Wilson Junior College in 1936 (both schools
are located in Chicago.)
She was the first black writer to win the Pulitzer Prize for
Literature. In addition she was the first black woman to be
named Consultant-in-Poetry to the Library of Congress. She has
been nominated for the National Book Award for her book-length
poem In The Mecca. Moreover, Ms. Brooks' life and works have
inspired many books. To Gwen with Love, That the River Turns:
The Impact of Gwendolyn Brooks, Gwendolyn Brooks, Poetry and the
Heroic Voice, A Life of Gwendolyn Brooks, and A Life Distilled,
Gwendolyn Brooks, Her Poetry and Piction, are among the more
notable books written about and in honor of her. Further, Public
Broadcasting System (PBS) is preparing a documentary on the life
of Ms. Brooks for distribution in 1994-5.
Western Illinois University founded the Gwendolyn Brooks Cultural
Center in Macomb, Illinois and Chicago State University dedicated
its Gwendolyn Brooks Center for Black Culture & Literature. The
Gwendolyn Brooks Jr. High School in Harvey, Illinois and the
Gwendolyn Brooks Auditorium at Jenner Elementary School in
Chicago are named in honor of Ms. Brooks.
In 1994, she celebrated the 25th anniversary of her Poet Laureate
Awards Competitions for Illinois school children. Over 30 cash
prizes are paid by Ms. brooks each year. During her travels
around the country, she consistently establishes annual
scholarships for worthy students. Ms. Brooks also awards prizes
to various Illinois Significant Adult Poets.
A majority of Gwendolyn brooks' time is spent travelling to
schools around the country where she presents her workshops,
seminars and readings. On average she visits 70 schools per
year.
It is her simple language, her great insight into the human
condition, and her great dedication to teaching the art of poetry
that gives me the great pleasure in nominating Ms. brooks for a
National Medal of Arts in 1995.
January 11, 1995
BIOGRAPHY
David Diamond was born in Rochester, New York on July 9, 1915. Evincing
a strong musical talent at an early age, he studied violin and
composition in Cleveland with Andre deRibaupierre during his youth, and
wrote about one hundred pieces of music by the time he graduated from
high school.
Following a year at the Eastman School on scholarship as a composition
student of Bernard Rogers, he received a scholarship to the New Music
School and the Dalcroze Institute in New York and studied with Paul
Boepple and Roger Sessions. He then spent several years in Paris
working with the renowned pedagogue Nadia Boulanger at the Conservatoire
Americain in Fontainebleau, and enjoyed stimulating contact with such
musicians as Roussel, Milhaud, Ravel, and Stravinsky.
At the outbreak of WWII he returned to New York and established himself
as a rising young composer, receiving grants, commissions, and
performances of his works by major American orchestras under the
direction of such conductors as Monteux, Rodzinski, Koussevitzky, and
Bernstein.
In 1951 he went to Italy and composed prolifically, returning to the
United States in 1965.
He declared, "I am part of the Classical tradition, and has avoided the
experimental peripheries in music that are at odds with his own
sensibilities, seeking instead to go, "deeper into the center" of his
art. "The urge to compose is stronger now than it was in my youth," is
testimony to his prodigious, artistic output.
Mr. Diamond has taught at State University of New York/Buffalo,
University of Colorado at Boulder, the Manhattan School of Music; and
from 1973 to the present, at The Juilliard School. He was composer-in-
residence at the American Academy in Rome (1971) and the University of
Denver (1983).
***
James Ingo Freed, FAIA
Partner
Pei Cobb Freed & Partners
As one of three design partners at Pei Cobb Freed & Partners, James Ingo Freed has contributed
significantly to the firm's work since joining the office in 1956. The American Institute of Architects
recognized this unusually fruitful collaborative practice in 1968 when, under the name of I.M. Pei &
Partners, it honored the office with the AIA's prestigious Architectural Firm Award. In 1985 the
group practice was again honored by the Chicago Architecture Award. Most recently, the firm
received the Lifetime Achievement Award from the New York Society of Architects (November, 1992).
In addition to the more than one hundred major awards received by the firm and its buildings, Mr.
Freed has personally received wide acclaim from his profession. Among the most notable honors
bestowed on him are the R.S. Reynolds Memorial Award for Excellence in Architecture, The Arnold
W. Brunner Prize in Architecture from the National Institute of Arts and Letters, the Medal of Honor
of the New York Chapter of the AIA and the American Institute of Architects' first annual Thomas
Jefferson Award for Public Architecture, which was conferred in 1992.
Executed works for which Mr. Freed is principally responsible for design include: 88 Pine Street in
lower Manhattan; the National Bank of Commerce in Lincoln, Nebraska; West Loop Plaza in
Houston, Texas; Gem City Savings in Dayton, Ohio; the Jacob K Javits Convention Center and
Plaza in New York City, Warwick Post Oak Hotel in Houston, Texas; 499 Park Avenue, an office
tower on the east side of Manhattan: and Potomac Tower, an office building overlooking the river in
Rosslyn, Virginia. Nearly all of these buildings have received at least one major design award. In
addition, Mr. Freed played a leading role in Kips Bay Apartments and New York University Towers,
both in Manhattan, and in the prototypical designs of 50 FAA control towers across the country. Mr.
Freed was also the principal responsible for unexecuted plans to restore and expand the Ferry
Building Complex in San Fráncisco and for the development of Mission Bay.
Mr. Freed's current projects include the United States Holocaust Memorial Museum, which was
dedicated by President Clinton in April 1993 and Federal Triangle, also in Washington, D.C., a 3.1
million square foot mixed-use complex under construction on the last remaining site on
Pennsylvania Avenue. Other works in progress include the San Francisco Main Public Library at
the Civic Center, the expansion and modernization of the Los Angeles Convention Center, which is
nearing completion downtown; the Alumni Center at Ball State University a 2-building reclamation
center for the Environmental Protection Administration in Taiwan; and First Bank Place, a 55-story
tower recently completed in Minneapolis.
Prior to joining Pei Cobb Freed & Partners (I.M. Pei & Partners prior to 1989), Mr. Freed had
worked in both Chicago and New York, notably in the office of Mies Van der Rohe. He received his
architectural degree from the Illinois Institute of Technology in 1953, and two decades later, in 1975-
1978, returned to his alma mater as Dean of the School of Architecture. Mr. Freed has also taught
at Cooper Union. Cornell University. the Rhode Island School of Design, Columbia University and
Yale University. His commitment to education has also been served in the capacities of visiting
lecturer, critic and jurist at colleges across the country. He is widely published in professional
journals and books, and has participated in dozens of exhibitions both in the United States and
abroad.
Mr. Freed is active in numerous professional organizations, including the American Institute of
Architects, The Architectural League of New York and The Municipal Arts Society. Since 1982 he
has served on the Steering Committee of the Council of Tall Buildings and Urban Habitat.
Mr. Freed is a Fellow of the American Institute of Architects. He was a Director of the Regional
Plan Association of New York-New Jersey-Connecticut in 1985, and since 1983 has served as
Architectural Commissioner of the Art Commission of New York City. In 1988 Mr. Freed was
elected to membership in the American Academy of Design.
HEPBURN, Katharine.
American. Born Katharine Houghton Hepburn in Hartford.
1952 Pat and Mike (Cukor)
Connecticut. 9 November 1907 (or 1909). Educated at West
1955 Summertime (Lean)
Middle School: Oxford School for Girls, Hartford; Bryn Mawr
1956
The Rainmaker (Anthony) (as Lizzie)
College, Pennsylvania, 1924-28. Married Ludlow Ogden
1957
The Iron Petticoat (Thomas): Desk Set (Walter Lang)
1959 Suddenly Last Summer (Mankiewicz)
Smith. 1928 (divorced 1934). Career: 1928-professional
1962
Long Day's Journey into Night (Lumet)
stage debut with Edwin H. Knopf's stock company. Baltimore,
1967
Guess Who's Coming 10 Dinner? (Kramer)
in The Czarina: New York debut in September under name
1968 The Lion in Winter (Harvey) (as Eleanor of Aquitaine)
Katharine Burns in Night Hostess: appearance on Broadway in
1969 The Madwoman of Chaillot (Forbes) (as Countess Aurelia)
November under own name in These Days; 1932-appearance
1971 The Trojan Women (Cacoyannis) (as Hecuba)
in The Warrior's Husband led to Hollywood offers; contract
1973 A Delicate Balance (Richardson); The Glass Menagerie
with RKO; film debut in George Cukor's A Bill of Divorce-
(Harvey-for TV)
ment: 1934-returned to Broadway to star in The Lake;
1975 Rooster Cogburn (Millar): Love Among the Ruins
1936-37-toured in Jane Eyre for the Theatre Guild:
(Cukor-for TV)
1977 Olly Olly Oxen Free (The Great Balloon Adventure) (Colla)
1938-bought out of RKO contract rather than star in Mother
(as Miss Pudd)
Cary's Chickens; 1938-on Broadway in The Philadelphia
1978 The Corn is Green (Cukor-for TV)
Story (written for her by Philip Barry); 1941-teamed with
1981
On Golden Pond (Rydell) (as Ethel Thayer)
Spencer Tracy for first time in Woman of the Year; 1950-on
1983 The Ultimate Solution of Grace Quigley (Grace Quigley)
Broadway as Rosalind in As You Like It; continued through
(Harvey) (as Grace Quigley)
1950s to tour in Shakespeare productions; later stage roles
1986 Mrs. Delafield Wants to Marry (Schaeffer-for TV); Spencer
through the early 1980s. Recipient: Oscar for Best Actress for
Tracy Legacy: A Tribute by Katharine Hepburn
Morning Glory, 1932-33; Best Actress, Venice Festival, for
(Heeley-for TV)
Little Women, 1934; Best Actress, New York Film Critics, for
1988 Laura Lansing Slept Here (Schaeffer-for TV)
The Philadelphia Story, 1940; Best Acting (collectively
1989 Always (Spielberg) (as Hap)
awarded), Cannes Festival, for Long Day's Journey into Night,
1990 A Chance to Live (Barnes-for TV) (as presenter)
1962; Oscars for Best Actress for Guess Who's Coming to Din-
On HEPBURN: books-
ner?, 1967, and The Lion in Winter, 1968; Best Actress, British
Academy, for Guess Who's Coming to Dinner? and The Lion
Higham. Charles, Audrey: A Biography of Audrey Hepburn, London.
1984.
in Winter, 1968; Oscar for Best Actress for On Golden Pond,
Latham, Caroline, Audrey Hepburn. London. 1984.
1981.
Woodward, Ian. Audrey Hepburn, London, 1984.
On HEPBURN: articles-
Films as Actress:
Viotti, S., "Britain's Hepburn." in Films and Filming (London),
November 1954.
1932 A Bill of Divorcement (Cukor)
Simon. Brett. "Audrey Hepburn." in Films and Filming (London).
1933 Christopher Strong (Arzner) (as Lady Cynthia Darrington);
March 1964.
Morning Glory (Sherman): Little Women (Cukor) (as Jo)
Braun, E., "The Hepburn Quality Revisited." in Films (London).
1934 Spitfire (Cromwell); The Little Minister (Wallace) (as Lady
August 1981.
Babbie)
Thompson, F., "Audrey Hepburn." in American Film (Hollywood),
1935 Break of Hearts (Moeller): Alice Adams (Stevens) (title role)
May 1990.
1936 Sylvia Scarlett (Cukor) (title role); Mary of Scotland (Ford)
(title role); A Woman Rebels (Sandrich)
1937 Quality Street (Stevens): Stage Door (La Cava)
1938 Bringing Up Baby (Hawks) (as Susan Vance): Holiday (Cukor)
1940 The Philadelphia Story (Cukor) (as Tracy Lord)
1942 Woman of the Year (Stevens)
1943 Keeper of the Flame (Cukor); Stage Door Canteen (Borzage)
(as herself)
1944 Dragon Seed (Bucquet)
1945 Without Love (Bucquet)
1946 Undercurrent (Minnelli)
1947 The Sea of Grass (Kazan): Song of Love (Brown) (as Clara
Schumann)
1948 State of the Union (Capra)
1949 Adam's Rib (Cukor) (as Amanda Bonner)
1951 The African Queen (Huston) (as Rose Sayer)
LICHTENSTEIN
ROY
American painter: born in New
York. 1923. He studied with the
Realist painter Reginald Marsh
at the Art Students League and
then at Ohio State University.
where he later taught. His first
one-man show was at the Leo
Castelli Gallery in 1962: Castelli
organized regular shows for him
from then on. as he did for other
Pop Artists. After several years
devoted to Abstract Expression-
ism. Lichtenstein became inter-
ested in the comic strip. In
1961. Mickey Mouse. Donald
Duck, and Popeye began
appearing in his paintings, fol-
lowed by all sorts of images from
everyday life. Beginning in
1962. Lichtenstein took part in
a number of exhibitions. His
famous Whaam! of 1963 is char-
acteristic of a deliberately visual
style. painted on stencil to imi-
tate the plotted appearance of
printed images. A golf ball filling
up an entire canvas. a Greek
temple stripped of all historical
reference and lyricism. a close-
up of the barrel of a gun. an
exploding fighter plane. and so
forth-evocative of contempo-
rary life and its violence, but
especially of images generated
by the media-are depicted
without emotion. as social phe-
nomena. Irony is a frequent
aspect of his work. which
attacks myths and master-
pieces: Lichtenstein painted
canvases after Monet. Mondri-
an. Picasso. and Pollock.
New York: Whitney Museum: Museum
of Modern Art
London: Tate Gallery
Cologne: Ludwig Museum
MEADOWS FOUNDATION OF TEXAS
Texas Commission
on the Arts
Mr. James D. Tittle
Chairman. Abilene
Mr. Timothy Crowley
Vice Chairman. Houston
January 27, 1995
Mr. William J. Hill
Secretary. Houston
The Honorable Jane Alexander
Mr. Richard A. Alvarado
National Endowment for the Arts
Treasurer.
El
Paso
Office of Congressional Liaison - Room 524
Mrs. Carolyn H. Grinstein
1100 Pennsylvania Avenue, N.W.
Parliamentarian. Fort Worth
Washington, DC 20506
Mrs. Dorothy Anne Conn
Beaumont
Dear Ms. Alexander:
Mr. David R. Durham
Abilene
This letter will serve as my nomination of the Meadows Foundation of Texas
Mrs. Ruth Fox
for the prestigious National Medal of Arts.
Austin
As an appointee to the National Museum Service Board, I had the opportunity
Ms. Lisa A. Hembry
Dallas
to participate in last year's National Medal of Arts awards activities in
Washington. Immediately upon returning to Dallas, I set upon the task of
Ms. Nelde S. Lee
persuading executives at the Meadows Foundation of Texas to allow me to
Odessa
nominate the organization for the award.
Ms. Joan Meliard
San Antonio
The Meadows Foundation works quietly and without fanfare to provide funding
Mr. Laurence D. Miller, III
for literally hundreds of art and education institutions throughout the width and
Austin
breadth of the Lone Star State. Members of the Meadows family continue to
Dr. David Montejano
make personal commitments above and beyond the scope of the foundation to
Austin
ensure equal access for all Texans. Meadows Foundation president, Curtis
Mr. Raymond Nasher
Meadows, has been especially instrumental in sharing his family's fortune with
Dallas
cultural institutions with a broad reach. Mr. Meadows will retire next year to
Mrs. Matilda Robinson
allow younger family members to assume their leadership positions within the
Dallas
foundation.
Mrs. Marie F. Swartz
These are the "best of times and the worst of times" in Texas. On the one
San Antonio
hand, Texas became the first state to enact legislation creating a cultural
Mr. Jay M. Vogelson
endowment. The Texas Cultural Trust provides the venue to create a legacy of
Dallas
continuing and substantial support for our native artists and artisans. On the
Mr. Gliberto Zepeda, Jr.
other hand, our state currently expends a paltry $0.12 per capita to enhance the
San Juan
atmosphere in which the arts can flourish. In Texas, private philanthropy plays
Mr. John Paul Batiste
a critical role in our ability to develop and retain local artistic talent. The
Executive Director
Meadows Foundation is at the top of the list of major supporters for well-
established large institutions as well as for small, emerging, minority and rural
arts groups.
FEXAS OF
920 Colorado
P.O. Box 13406
Austin, Texas 78711-3406
512 463-5535 800 252-9415
TDD 512 463-3323
FAX 512 475-2699
page two
Ms. Alexander, there is not a more deserving supporter of the arts in Texas
than the Meadows Foundation. Now more than ever, an acknowledgement of
gratitude and a nod of recognition would most assuredly reward a family and a
foundation which has done so much to help so many. Please give every
consideration to the nomination of the Meadows Foundation of Texas for the
National Medal of Arts.
If you have any questions or need supplemental information, please call me at
(214) 637-6660.
Sincerely,
Lisa Hembry
Lisa A. Hembry
enclosures
THE WHITE HOUSE
WASHINGTON
February 28, 1995
Ms. Lisa A. Hembry
Texas Commission on the Arts
Post Office Box 13406
Austin, Texas 78711-3406
Dear Ms. Hembry:
On behalf of President Clinton, thank you for your
letter nominating the Meadows Foundation of Texas for the
National Medal of Arts.
I have forwarded your letter to Jane Alexander, Chairman
of the National Endowment for the Arts, for consideration by
the National Council on the Arts. The members of the Council
will deliberate all nominations at their May meeting before
sending their recommendations to the President.
The President appreciates the efforts of the members
of your Commission to promote the arts, and he sends his best
wishes.
Sincerely,
and
James A. Dorskind
Special Assistant to the President
Director of Correspondence and
Presidential Messages
ARTHUR MITCHELL
Artistic Director and President
Arthur Mitchell is known around the world as an accomplished teacher, choreographer and
dancer. He has been a pivotal figure in the dance world for over three decades. Mitchell
began formal ballet training in his late teens and went on to win the coveted annual dance
award upon graduation from the High School of Performing Arts in New York City, resulting
in offers of scholarships to Bennington College and the School of American Ballet. He
accepted the latter and went on to join the New York City Ballet in 1955 where he debuted in
the Fourth Movement of "Western Symphony."
He quickly rose to the position of premier danseur. During his fifteen years with the New
York City Ballet, he electrified audiences with his performances in all of the major ballets in
the company's repertoire. Mitchell was equally at home in the neoclassic rigors of the "Agon"
pas de deux as in the light-hearted caperings of Puck in "A Midsummer Night's Dream,' two
roles created especially for him by George Balanchine. Mitchell left the New York City Ballet
in 1966 to appear in several Broadway shows and to experience for the first time a new role as
artistic Festival. director of a dance company which appeared for two years in succession at the Spoleto
Upon learning of the death of Dr. Martin Luther King, Jr., Mitchell returned from Brazil,
where he had established the National Ballet Company, determined to do something to provide
children in Harlem with the kinds of opportunities which he felt had been given to him. It was
in 1969, with financial assistance from the Ford Foundation, that Mitchell along with Karel
Shook, founded Dance Theatre of Harlem both as a school of the allied arts and a
professional dance company. Having long since expanded its boundaries, the school and the
company now recruit students and dancers from around the world.
Among the many recognitions earned by Mitchell are the Actor's Equity Paul Robeson Award;
the New York Public Library's "Lion of the Performing Arts" award for outstanding
contributions to the performing arts; induction into the NAACP's Image Awards Hall of
Fame; appointment to the National Council on the Arts by President Reagan; thirteen
Honorary Doctorate Degrees from institutions nationwide, including Harvard University,
Princeton University and Williams College, Julliard: the Arts and Business Council's Arnold
Gingrich Memorial Award; the American Academy of Achievement's Golden Plate Award the
Black History Makers Award, Harkness Distinguished Artist in the Dance. During the past
year, Mr. Mitchell has received several very distinguished awards. In recognition of the
Company's unprecedented six-week tour to South Africa in September 1992, the United States
Information Agency awarded Mr. Mitchell an "Award for Outstanding Service". Earlier this
past fall, Mayor Dinkins bestowed New York City's highest cultural honor on him, the
"Handel Medallion", and most recently, Mr. Mitchell was awarded a "Kennedy Center
Honor" on December 5, 1993 in tribute for his lifelong achievements in the performing arts.
ELLEN STEWART BIO
Ellen Stewart is the founder and artistic director of La MaMa E.T.C., the theater
which began in October 1961, and continues to this day to be of great importance
to world culture. To date, La MaMa E.T.C. has presented more than 1,800
productions. Its resident theater troupe has performed throughout the world
including Columbia, Mexico, Venezuela, Lebanon, Iran, Morocco, Former
Yugoslavia, Greece, Italy, Austria, Japan, France, Belgium, Holland, Denmark,
Finland, Scotland, England, Sweden, Switzerland and Spain.
New Eastern European Theatre was introduced in America in 1967, when Ellen
Stewart brought Jerzy Grotowski, Richard Slezak, and Lucein Flazen to America,
in this endeavor she was aided by Ted Hoffman of New York University. Ms
Stewart was instrumental in introducing America to some of the worlds most
influential artists and is proud of La MaMa's long heritage as an International
theatre having hosted artists from more than seventy different countries.
Aside from her role as producer, Ellen Stewart has staged her own original folk-
opera / spectacles, works she also composed, directed and wrote librettos for, in
America, Uruguay, Argentina, Austria, Italy, Turkey and the Phillipines. She has
lectured in all of the above countries, is a visiting professor of the Seoul Institute
of Drama in South Korea and a long standing member of the International
Theatre Institute.
Ellen Stewart is the recipient of many honorary doctorates, and awards, amongst
which are the prestigious MacArthur "Genius" Award and the National
Endowment Award for Arts and Culture. She was appointed an "Officier" in the
"Ordre Des Arts Et Letters" of the Republic of France and recently received the
Kurbas Award for "distinguished service to Art and Culture" of the Ukraine. In
January 1993 Ellen was inducted into the" Broadway Theater Hall of Fame", the
first off-Broadway producer to ever receive this honor.
MARGARET TAFOYA
Margaret Tafoya is the widely-known matriarch of Santa Clara Pueblo
pottery making. For the last several decades, she has been
recognized as the leading exponent and heir to the 1,500-year-old
pottery tradition of her Anasazi ancestors. She creates large,
deeply carved blackware and redware vessels prized for their
graceful form and luminous finish. For centuries, Santa Clara
potters have dug their own clay from the hills near their pueblo,
while offering prayers to Mother Earth. The pots are shaped using
coiling techniques, then fired in the open using cedar wood. The
brilliant black shine is created by polishing the pottery with
smooth stones before it is fired. These stones are family
heirlooms. ("I value them like my heart," she says.) The
decoration represent water serpents, rain clouds, buffalo horns,
and bear paws--all symbols of survival for her people. She was one
of the few potters who continued to make the spectacularly large
black clay vessels. Today, four generations of the Tafoya family
continue the tradition.
Over Ms. Tafoya's long "career" (she is about 90 years old), she
has won countless awards at the Inter-Tribal Ceremonial at Gallup,
NM, the New Mexico State Fair, the prestigious Santa Fe Indian
Market. During both the 1978 and 1979 Indian Markets, she competed
against approximately 550 of the finest Native American artists,
potters, carvers, basket makers, weavers, and jewelers in the
country and was awarded an unprecedented Best of Show for these two
years. Her work has been exhibited widely--at the Wheelwright
Museum in Santa Fe, the Denver Museum of Natural History, the
Taylor Museum of Fine Arts in Colorado Springs, and many other
venues. She received a National Heritage Fellowship from the
National Endowment for the Arts in 1984, and her work was featured
in the "Living Treasures" exhibit, a ten-year retrospective of the
National Heritage Fellows that toured nationally. Despite her
advanced age, she is still active, travelling to Washington, D.C.
in the summer of 1994 to demonstrate her craft as a part of the
Smithsonian's Festival of American Folklife section featuring the
National Heritage Fellows.
URBAN GATEWAYS
Major Accomplishments. etc.
Since 1961, Urban Gateways has provided essential arts programming for children through matinee
performances, in-school touring performances, short term workshops and long term artist residencies. Urban
Gateways is a model urban arts organization because it efficiently meets the needs of its participants while
extending each participant's abilities. Artists are able to share their professional expertise and are given the
support they need to develop and be successful as educators; cultural institutions and performing arts
organizations are able to reach and develop new audiences and are given more performance opportunities:
teachers and parents are given valuable arts resources, while learning new skills to teach their children:
school communities are able to reach their goals of becoming exciting sites of learning and inspiration: and
children are given equal access to the cultural riches of Chicago while also exploring their own creative
possibilities. Urban Gateways has become one of the most successful grassroots arts organizations in the
country, serving nationwide as a model for arts education organizations.
With 320 artists on its roster Urban Gateways is the largest private employer of artists in the Midwest
region, providing employment opportunities that support and sustain the growth of local, regional and
national performing arts organizations, and providing individual artists with opportunities for professional
development and advancement. Artists of all disciplines, dance, theater, music, visual and literary arts, and
from a diverse cultural palette are represented in Urban Gateways' catalog. Since its founding, Urban
Gateways has successfully worked with many small and mid-sized organizations of color as well as with
individual artists of color to authentically present diverse cultural perspectives to children, educators, and
parents. It is through Urban Gateways that these organizations and individuals share their arts forms based in
African, Asian and Latino cultures with large and diverse audiences. In fact, artists and organizations of
color regularly seek relationships with Urban Gateways because of the significant performance and teaching
opportunities the organization provides. Urban Gateways was cited by the National Endowment for the Arts
artists. in 1986 as an outstanding organization for its professional development of artists, and in particular minority
Urban Gateways provides 26 different staff development programs for teachers and educators, and
23 different arts workshops for parents, to aid them in successfully incorporating the arts into the classroom.
Through workshops for parents and teachers, adults learn how to use the arts to develop and reinforce skills
essential for a child's learning such as self-esteem, creativity, cooperation, and problem solving. Teachers are
given comprehensive :ducational materials to aid them in incorporating arts experiences into the curriculum
for all Urban Gateways programs. Urban Gateways hosts an annual all day seminar for teachers on arts
education, which was attended by over 200 teachers from the Chicago area last year. Urban Gateways also
sponsors two annual retreats, one for principals and one for teachers, to address current issues and new
methods for arts education. Along with these forums, educators and parents have resource to two adjunct
organizations to further their involvement in arts education. The Parent Community Council was formed in
1967 to engage parents in learning how the arts can make an impact on children's education. In 1982, the
Principal's Coalition for the Arts was formed as an advocacy and support group for principals from various
communities who are committed to developing and maintaining arts programs in their schools.
At the heart of Urban Gateways is the children they serve. many of whom would never experience
the arts were it not for Urban Gateways. Children are able to witness live performances by the best
orchestras, opera, dance, and theater companies at the most prestigious performing arts venues in Chicago.
Touring performances by the city's best small and mid-size performing arts organizations visit schools to
delight young audiences and bring the magic of the arts into urban communities. Artist workshops and
residencies provide an opportunity for children to work in-depth with artists in a study of a particular art
form. Through interaction with artists, children are exposed to professional possibilities, widening their own
scope of what is possible for them. Through these programs children learn by doing and become active
participants in their education. Children who participate in workshops on culturally diverse art forms and
traditions learn language arts, history, geography, principles of mathematics and science while being
encouraged to use the arts for self-expression. Through the study of the arts children learn to appreciate and
respect various cultures including their own. Schools report higher attendance when there is a scheduled
Urban Gateways event. Through Urban Gateways arts programs children learn self-esteem, self-discipline,
creativity, problem-solving skills, conceptual and critical thinking ability, and cooperation-all skills
necessary to be successful in learning and in the work-force. Through these initiatives, Urban Gateways
impacts the lives of over 1 million children. teachers and parents a year, in over 800 school communities.
Biographies:
Second Priority
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P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
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Statement by Rep. Sidney R. Yates on Livingston Biddle
Livingston Biddle's long career on behalf of the arts is
highlighted by many special achievements.
Mr. Biddle conceived and developed the concept of a National
Endowment for the Arts -- joined with National Endowment for the
Humanities -- in one new foundation. Working with Senator
Claiborne Pell, he prepared the enabling legislation. It was
precedent setting, creating such a program for the first time in
our history.
The authorizing legislation was conceived to encourage
private giving to the arts, not be a substitute for it. A
matching grant formula was stipulated. Excellence in the arts
was emphasized. State programs were to be initiated with these
principles. Private citizen guidance was prescribed. The vision
was to make the arts available to the greatest possible number of
our citizens. The landmark bill was enacted in September, 1965.
Mr. Biddle became Deputy Chairman of the new agency under Chair-
man Roger Stevens. For Nancy Hanks, the second Chairman, he
established a new office of Congressional Relations.
During the 1970's, he worked again in the Senate, this time
to legislatively expand the Endowment's mission and purpose. He
developed the "challenge Grant" program, increasing the
Endowment's ability to support important arts institutions, and
these institutions to increase their fundraising potentials. In
addition, Mr. Biddle worked on related cultural concepts, organ-
izing in 1973 the most comprehensive hearings to date on the
needs of the nation's museums. These hearings lead to the
establishment of the Institute of Museum Services. Also
attributable to his work and ideas were the "Arts and Artifacts
Indemnification" program at the Endowment and the Smithsonian's
Air and Space Museum.
In 1977, Mr. Biddle became Chairman of the National
Endowment for the Arts. "Access to the Best," was his motto.
During his four-year term as Chairman, he strengthened the
involvement and participation of the National Council on the
Arts, following his convictions regarding private citizen
guidance to excellence. He also established a new rotation
procedure for the peer panel experts, so that applications for
Endowment help could be given broader perspectives. He
inaugurated an office of minority concerns and a special
challenge program for developing arts organizations, thus
allowing them to progress to new sources of financial assistance.
Additionally, he brought opera and musical theater into a new
program of cooperation, and he started a new Endowment program
for jazz.
Of equal importance was Mr. Biddle's work to strengthen the
Endowment's potentials as a catalyst with other federal agencies.
Partnerships were begun with many different agencies and Depart-
ments, including: the Interior Department, to bring the arts into
1
public parks; the Veterans Administration, to bring the arts and
artists into hospitals; the Small Business Administration, to
help teach artists in business practices; the General Services
Administration, to expand art in public places; the State Depart-
ment, to give more emphasis to American creativity abroad; and
with the then-new Department of Education, to explore and develop
the exceptional values of the arts in the whole process of
education.
Since the creation of the National Endowment for the Arts,
the arts in the United States has grown mightily. Once existing
primarily on the east and west coasts and in areas around Chicago
and in Texas, the arts have since put down their beneficial roots
all across the country. Symphony orchestras, museums, theaters,
dance and opera companies have multiplied. Private giving has
grown from approximately $250 million to $9 billion annually, a
35-fold increase.
It is clear that the National Endowment for the Arts ha
become the primary catalyst, the "seed money", the incentive, for
remarkable change in the arts.
The Medal of Arts is awarded to individuals who "are deserv-
ing of special recognition by reason of their outstanding contri-
butions to the excellence, growth, support and availability of
the arts in the United States
=
These words seem especially applicable to the accomplish-
ments of Livingston Biddle. Since leaving the Endowment, he has
continued his commitment to the arts and has worked pro bono to
strengthen the National Symphony, the Washington Opera, Arena
Stage, the Folger Theater, the Corcoran, the Phillips Collection
and the Wolf Trap Foundation. Mr. Biddle helped establish a
special Washington Arts Fund providing greatly needed help to the
Capital's major cultural assets, over and above Endowment sup-
port, to help resolve financial difficulties they face compared
with the help given to institutions of equal merit in other
important cities. In itself, this program has brought a new
stability to Washington's contributions in the arts to the
nation.
Before coming to Washington in 1962, Mr. Biddle worked as a
writer in his Philadelphia home. He is the author of four novels
(two national best-sellers) and of a long history of the begin-
nings of the evolution of the NEA, entitled: "Our Government and
the Arts.'
SIDNEY R. YATES
Member of Congress
2
GEORGE BURNS
BURNS, GEORGE, actor. comedian: b. N.Y.C.. Jan. 20. 1896: m. Gracie
Allen. Jan. 7. 1926 (dec. Aug. 1964); adopted children: Sandra Jean. Ronald
John. Student pub. schs.. N.Y.C.: HHD (hon.). U. Hartford. 1988. Began
as dancer. vaudeville performer: formed team with Gracie Allen. 1923.
touring U.S. and Europe. making radio debut with B.B.C. and co-star radio
show. 1932-50: screen debut. 1932: films include The Big Broadcast. 1932.
36. 37. International House. 1933. Love in Bloom. 1933. College Humor.
1933. Six of a Kind. 1934, We're Not Dressing, 1934. Here Comes Cookie.
1935. Love in Bloom. 1935. College Holiday. 1936. A Damsel in Distress.
1937, College Swing. 1938. Many Happy Returns. 1939. Honolulu. 1939,
Two Girls and 2 Sailor. 1944, The Sunshine Boys. 1975. Oh God!, 1977, Sgt.
Pepper's Lonely Hearts Club Band. 1978, Going in Style, 1979. Just You and
Me. Kid. 1979, Two of a Kind. 1979. Oh God! Book Two. 1980. Oh God.
You Devil!. 1984, Eighteen Again. 1988: co-star TV show George Burns and
Gracie Allen Show. 1950-58; star TV show George Burns Show. 1958-59;
appeared on TV show Wendy and Mc. 1964-65 (also prodr.): numerous TV
and personal appearances including host TV series George Burns Comedy
Week. CBS-TV, 1985: featured TV spl. for 90th birthday, CBS-TV. 1986:
producer Meet Mona McCluskey, NBC. 1965: record albums include I Wish
I Was Young Again. 1981. George Burns in Nashville. 1981; author: I Love
Her. That's Why!, 1955. Living It Up, or. They Still Love Me in Altoona.
1976. The Third Time Around: Confessions of a Happy Hoofer. 1980. How
to Live to be One Hundred or More. 1983. Dear George: Advice and
Answers from America's Leading Expert on Everything from A to B. 1985.
Gracie: A Love Story, 1988. (with David Fisher) All My Best Friends. 1989.
(with Hai Goodman) Wisdom of the 90s. 1991. Recipient Acad. award as
Best Supporting Actor. 1976. Kennedy Ctr. Honor. 1988. Office: care Irving
Fine 1100 Alta Loma Rd West Hollywood CA 90069-2455°
HARRY CALLAHAN
In 1946, Harry Callahan joined the staff of the Institute of Design, Chicago. He had his first
major exhibition at the Art Institute of Chicago in 1951, and throughout his career, Callahan's
work has been exhibited widely at many major national and international museums. In 1953, he
received The Graham Foundation Award for Advanced Studies in Fine Arts. Callahan left
Chicago in 1961 to become the head of the Department of Photography at the Rhode Island
School of Design, and in 1964, the first major monograph of his work, Photographs: Harry
Callahan, was published. In 1972, he was awarded a fellowship grant from the John Simon
Guggenheim Memorial Foundation, and the same year he received a citation for distinguished
contributions as an artist, photographer, and educator from the Board of Directors, National
Association of Schools in Rochester, New York. The Center for Creative Photography,
University of Arizona, Tucson, purchased Callahan's archive in 1975. In 1978, he became the
first photographer chosen to represent the United States at the XXVII Venice Biennale. He
received an honorary Doctor of Fine Arts degree from the Rhode Island School of Design in
1979, and was elected a Fellow of the American Academy of Arts and Sciences. He received, in
1980, the Friends of Photography's first "Distinguished Career in Photography" award, and in
1985 he was awarded the Brandeis Creative Arts Medal. In 1993, Callahan won the prestigious
Edward MacDowell Medal, which is awarded for "outstanding contributions to the nation's
culture."
1912
Born, Detroit, Michigan
1936
Marries Eleanor Knapp
1938
Begins Lifelong Interest in Photography (Even though this is the heyday of Farm
Security Administration Photography Project, Callahan is driven to explore a more
personal expression with the camera.)
1946
Joined the staff of the Institute of Design (formerly, the New Bauhas founded by
Moholy-Nagy), Chicago.
1948
Edward Steichen (Director of Department of Photography at the Museum of Modern
Art includes Callahan in "In and Out of Focus" exhibition.
1951
First major exhibition at the Art Institute of Chicago.
Continues to exhibit widely throughout career at major National and
International Museums.
1953
Received Graham Foundation Award for Advance Studies in Fine Arts.
1961
Leaves Chicago to become head of the Department of Photography at The Rhode
Island School of Design.
1964
First Major monograph, "Photographs: Harry Callahan"
1972
Receives Guggenheim Fellowship and National Association of School Award for
distinguished contributions to teaching and photography.
1975
Archive purchased by the Center for Creative Photography, University of Arizona,
Tucson.
1978
First photographer chosen to represent the United States at the XXVII Venice
Biennale.
1979
Receives honorary Doctor of Fine Arts degree from the Rhode Island School of
Design. Elected a fellow of the American Academy of Arts and Sciences.
1980
Receives first "Distinguished Career in Photography" award from The Friends of
Photography's Peer Awards in Creative Photography Program.
IRIS AND B. GERALD CANTOR
Throughout recorded history the great patrons of the arts have been held in the
highest esteem for their contribution to the civilized world-the Medicis, Count Esterhazy,
and Lady Gregory, to name only a few. Today, as much as at any other time we must
acknowledge and honor art patrons for enriching our personal lives.
Iris and B. Gerald Cantor are in the forefront as patrons associated with the arts
in America. Their various gifts are among the most comprehensive this country has
known in terms of dollars, scope, and sheer variety.
First, is their total commitment to the collection of the works of Auguste Rodin, the
sharing of Rodin's oeuvre, and the fostering of his memory. Since 1945, B. Gerald
Cantor has amassed the largest Rodin collection in the world--over 730 large and small
scale sculptures, prints, drawings, photographs, and Rodin memorabilia. But what is
more impressive is the donation of that sculpture to museums throughout the country:
.33 Rodin sculptures to The Metropolitan Museum of Art, New York
.60 Rodin sculptures to The Brooklyn Museum
.51 sculptures to the Los Angeles County Museum of Art
.10 bronze studies to the Museum of Modern Art, New York
.187 sculptures to Stanford University Museum and Art Gallery
The sum total of the Cantors' gifts of Rodin sculpture are 430 works of art to over 70
American institutions that celebrate the arts and culture.
The Arkansas Arts Center was the proud recipient of the Bust of Young Balzac in 1992.
The Cantors' philanthropy includes an art support program that involves the
circulation of traveling exhibitions of Rodin's work, in conjunction with other works in their
private collection. One hundred and fifty communities in the United States and, indeed,
throughout the world have benefited from this program. (Exhibition sites have also
included London and cities in Japan, Israel, Switzerland, and Central and South
America.)
Clearly, their mission is to promote continued appreciation for the French master-
sculptor, and to that end, in 1969 Mr. Cantor established the Rodin Research Fund at
Stanford University. This fund enables Ph.D. candidates specializing in Rodin and early
modern sculpture to conduct research on the arts in the United States and abroad.
Through scholarships, research grants, travel fellowships and the support of publications,
doctoral candidates have been given the opportunity to conduct extensive original
reaseach on Rodin's work. Also through Mr. Cantor's diplomacy, the archives of the
Musee Rodin in Paris have been made accessible to scholars.
"Cantor Fellows" now occupy curatorial and professorial position at major
museums and universities including: Kirk Varnedoe, director of painting and sculpture
at the Museum of Modern Art, New York; Neal Benezra, chief curator of the Hirshhorn
Museum and Sculpture Garden; and Dan Rosenfeld, curator of painting and sculpture
at the Rhode Island School of Design. The Cantors' committment to education in the
arts is also evidenced in their underwriting of scholarly publications devoted to museums'
collections and traveling exhibitions.
The Cantors' passion for Rodin spawned the Cantors' interest in the sculptor's
"ancestors," including the masters of 19th and 20th Century Impressionism, Post -
Impressionism, and Expressionism. Museums and their audiences have benefited from
the Cantors' gifts of 250 classic modern and contemporary works of art.
Equally as impressive as the sharing of the art itself are the multi-million dollar
gifts made by the Cantors to sustain the physical plants of art institutions throughout
America:
.$13.5 million to the Metropolitan Museum of Art for exhibition halls, a roof garden,
and a gallery of 19th Century sculpture since 1986.
.$3.5 million for the Cantor Auditorium at the Brooklyn Museum in I991
.$10 Million to Stanford University for the Cantor Center for the Visual Arts in I994
.$I Million for the creation of a new art gallery at Haverford College
The Cantors have provided funds for endowed curatorships and operating
support for security and other costs involved in keeping galleries open for public
enjoyment.
It is not only the major arts institutions in the country that benefit from the Cantors'
generosity. They have underwritten exhibitions from institutions ranging in size from the
large Metropolitan Museum of Art, New York, and National Gallery, Washington, D.C.,
to mid-sized institutions like The Arkansas Arts Center, and to small college and
university museums. They have made cash contributions totalling well over $25 million.
True patrons appreciate what is good in artistic achievement and strive to
preserve, and then share what they have found. The Cantors epitomize such patrons
and their largesse has been rarely matched in the last fifty years in this country. The
pleasure and enhancement they have brought to the lives of so many is inestimable.
In 1995, it is right and just that we honor the remarkable accomplishment of these two
great patrons as they continue as custodians for objects and ambassadors for art and
culture in partnership with artists, museums, and institutions of higher learning into the
21st century.
OSSIE DAVIS AND RUBY DEE
DAVIS, OSSIE, actor. author: b. Cogdell. Ga.. Dec. 18. 1917: 3. Kince
Charles and Laura (Cooper) D.: m. Ruby Ann Wallace (Ruby Deet. Dec. 9.
1948: children: Nora. Guy. Hasna. Student. Howard U.. 1935-38. Stage
debut with Rose McClendon Players in Harlem. 1939: Broadway debut in
Jeb. 1946: theatre appearances include A Raisin in the Sun. Purlie Victorious.
I'm Not Rappaport. 1987: writer. dir.. actor (films) The Cardinal. The Hill:
TV appearances include All God's Children. The Eleventh Hour: narrator:
Freedom Road. With Ossie & Ruby, King: appeared in TV series B.L.
Stryker. Evening Shade. 1990- TV miniseries Alex Haley's Queen. 1993:
TV spi. The Emest Green Story, 1993: dir. films Cotton Comes to Harlem.
Black Girl. Countdown at Kusini. Gordon's War: actor (films) The
Scalphunters. School Daze. Do The Right Thing (Best Supporting actor
award. Image award for role DA Mayor NAACP). Jungle Fever. 1991. The
Gladiators. 1991: author: Escape to Freedom: The Story of Young Frederick
Douglass. 1978. Langston. 1982. Purlie Victorious. Just Like Martin. 1992:
co-producer (home videotape) Hands Upon the Heart. 1991. Named to
NAACP Image Awards Hall of Fame with wife. Ruby Dee. 1989. Office:
care 7095 Artists Agy 10000 Santa Monica Blvd Ste 305 Los Angeles CA 90067-
DEE RUBY (RUBY DEE DAVIS), actress. writer. director. b. Cleve.: d.
Marshall Edward and Emma (Benson) Wallace: m. Ossie Davis. Dec. 9.
1948: children: Nora. Guy, Hasna. BA. Hunter Coll.. 1945: ArtsD (hon.).
Fairfield U.: BA (hon. doctorate). Iona Coll.. Va. State U.: apprentice. Am.
Negro Theatre. 1941-44; LHD (hon.). SUNY. Old Westbury, 1990; DFA.
Spelman Coll., 1991. Ind. actress. writer. dir., 1945- Author: (poetry)
Glowchild. 1972. (musical) Take It from the Top. (collected poetry, humor.
short stories) My One Good Nerve: adaptor: (African folk tales) Two Ways
to Count to Ten. The Tower to Heaven. (play) Books With Legs, 1993;
contbr. column N.Y. Amsterdam News: co-writer (film) Uptight: dir..
adaptor (stage prodn.) Zora is my Name!. 1983: stage appearances include
Jeb. 1946. Raisin in the Sun. 1959. Purlie Victorious. 1961. The Imaginary
Invalid. 1971, Wedding Band. 1972 (Drama Desk award 1972). Boesman and
Lena. 1970 (Obie award 1971). Anna Lucasta. Taming of the Shrew.
Checkmates. 1988. The Glass Menagerie. 1989: actress: (films) Gone are the
Days. The Jackie Robinson Story. Take a Giant Step. St. Louis Blues. A
Raisin in the Sun. Purlie Victorious. To Be Young. Gifted and Black. Buck
and the Preacher. Countdown at Kusini. Cat People. 1982. Do the Right
Thing. 1989 (NAACP Image award as best actress 1989). Jungle Fever.
1991: numerous TV appearances including It's Good to be Alive. 1974.
Today is Ours. 1974, The Defenders. Police Woman. Peyton Place. (TV
films) To Be Young. Gifted and Black. All God's Children. The Nurses.
Roots: The Next Generation. I Know Why the Caged Bird Sings, Wedding
Band. It's Good to Be Alive. Decoration Day (Emmy award for Supporting
Actress in a Miniseries or Special 1991), The Atlanta Child Murders. (TV
spl. with Ossie Davis) Martin Luther King: The Dream and the Drum. The
Winds of Change. Windmill of the Gods: co-producer: (TV spd.) Today is
Ours. The Emest Green Story. 1993. (radio show) Ossie Davis and Ruby
Dee Story Hour. 1974-78. (TV series) With Ossie and Ruby, 1981. (home
videotape) Hands Upon The Heart. 1991. Middle Ages. 1992: rec. artist
poems and stories. Recipient Martin Luther King Jr. award Operation
PUSH. 1972. Drama Desk award. 1974. (with Ossie Davis) Frederick
Douglass award N.Y. Urban League. 1970. (with Ossie Davis) NAACP
Image award Hall of Fame. Master Innovator For Film award Sony. 1991.
Mem. NAACP. CORE. Student Non-Violent Coordinating Com.. SCLC.
Address: The Artists Agy 10000 Santa Monica Blvd Los Angeles CA 90067
IRENE DIAMOND
January 6, 1995
Irene Diamond was born in Pittsburgh, Pennsylvania. In
search of a career, she moved to New York City and worked with
Eva Le Gallienne in the theater. She went to Hollywood and in
the late '30's developed her talents as a script analyst into a
career as a senior story and talent editor in the film industry.
She worked with Warner Brothers, Samuel Goldwyn, as well as the
independent producer Hal Wallis at Paramount Pictures, which
association brought her back to New York. Mrs. Diamond bought
practically all of the scripts for Bette Davis's movies, and will
be remembered for the purchase and development of the script for
Casablanca. She retired from her career in motion pictures in
the late '60's.
In 1942, Irene married Aaron Diamond, who had started a real
estate business in New York after World War II. The Diamonds
made their home in New York City where their only child, Jean,
was born and attended school.
Both Irene and Aaron Diamond had an avid interest in the
cultural and intellectual life of the city and were quiet
supporters of the arts and social service programs benefitting
children and other needy groups.
Mr. Diamond had established The Aaron Diamond Foundation
in the 1950's and in the 1980's he turned his attention to the
eventual distribution of a considerable bequest to the
Foundation. Aaron and Irene Diamond determined to return to the
people of the City of New York the bulk of the real estate
fortune he had made in the city.
Since Mr. Diamond's sudden death in April 1984, Irene
Diamond has guided The Aaron Diamond Foundation as its President
and, with the collaboration of staff and Board, has developed
significant grantmaking programs in medical research, minority
education and culture. In the space of a few short years, the
(NY)
Foundation has become a major contributor to the life of the city
with its support of innovative programs designed to develop and
train gifted young people, especially minorities and the
economically disadvantaged.
The Foundation's emphasis on medical research programs has
made it the country's largest private supporter of AIDS research.
The establishment of the multimillion-dollar Aaron Diamond AIDS
Research Center for the City of New York (which had its official
opening on April 16, 1991) will greatly facilitate the scientific
search for ways of preventing and curing this deadly disease.
Recognizing the catastrophic effects on public health in New
York City caused by the shrinking federal funds available for
basic medical research combined with the spread of AIDS and drug
abuse, in early 1991 the Foundation undertook a major innovative
program. The Aaron Diamond Postdoctoral Research Fellowship
Program is a five-year $16 million-plus undertaking intended to
foster young researchers who will concentrate their research
efforts on AIDS and drug abuse at institutions in New York City.
In minority education, the Foundation is a leading supporter
of model programs in early childhood education and skills
improvement, of alternative schools and school restructuring, of
- 2 -
recruitment of minority students into professions in which they
are under-represented, and of programs to bring more minority
teachers into the system.
In culture, the Foundation concentrates on making the arts
accessible to participants and audiences who are normally denied
participation. The Foundation's commitment to supporting civil
liberties at home and human rights abroad recognizes that without
guaranteed fundamental rights, such as freedom of expression,
culture cannot exist.
Aside from the impressive contributions made through The
Aaron Diamond Foundation, Irene Diamond has made sizable personal
contributions or commitments to Human Rights Watch, The Juilliard
School, Young Concert Artists, The New York Philharmonic, Brown
University, Pediatric AIDS Foundation, the New Israel Fund, the
New York Chamber Symphony, and the Chamber Music Society of
Lincoln Center.
For her significant achievements in these areas, Irene
Diamond was awarded an Honorary Doctor of Humane Letters by City
College of the City University of New York in May 1989 and Bank
Street College President's Medal in December of that year. She
received the Liberty award from the Lambda Legal Defense and
Education Fund on May 3, 1990, and, on May 25, 1990, CUNY Law
School at Queens College awarded Mrs. Diamond a degree of Doctor
of Laws, honoris causa. Mrs. Diamond was awarded the
Distinguished Community Service Award from the United Hospital
Fund on October 1, 1990, and, on December 6, 1990, she received
- 3 -
the 1844 Medal from the Correctional Association of New York and
the Osborne Association. On May 22, 1992, Mrs. Diamond was
awarded the honorary degree of Doctor of Humane Letters by The
Juilliard School, and on May 24, 1994 the New School for Social
Research awarded her the honorary degree of Doctor of Laws,
honoris causa. On October 20, 1994 at its 30th Annual Encore
Awards Lunch, Mrs. Diamond was the recipient of the Sybil C.
Simon Distinguished Patron Award of the Arts and Business
Council, and on October 25, 1994 she received the Lead Poisoning
Prevention Award from Montefiore Medical Center.
Mrs. Diamond is a Board Member of the The Aaron Diamond
Foundation, The Aaron Diamond AIDS Research Center for the City
of New York, Young Concert Artists, The Film Society of Lincoln
Center, Sundance Institute, and Human Rights Watch.
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MILTON KATIMS / Conductor-Violist
Milton Katims, one of America's most dynamic conductors and instrumentalists,
is known throughout the world of music for his legendary accomplishments as Music
Director of the Seattle Symphonv. The New York Times (Harold Schonber2) wrote
"Katims had been brought to the orchestra and did great things, turning a pro-
vincial group into a real symphonv orchestra", establishing the name Katims in
that rare firmament of conducting stars whose names are universally recognized
in the musical world.
Born and raised in New York City of Hungarian-Russian parentage, Katims began
his career as a violist and enjoys an international reputation as an outstanding inst
mentalist. As a conductor, Arturo Toscanini was his mentor and he was closely
associated for a number of years with the renowned Italian maestro and the NBC
Svmphony. Toscanini invited Katims to guest conduct that great orchestra in over
50 coast to coast broadcasts. Music making with many other great artists include
such luminaries as Pablo Casals, ArthurBubinstein, Rudolf Serkin, Isaac Stern, and
the Budapest String Quartet, all of whom contributed to Katims' musical profile.
Katims has guest conducted most of the outstanding orchestras in this country
and abroad (including Israel, Japan, and China). He has made a number of critic-
ally acclaimed recordings, both as conductor and as violist. for RCA, Columbia,
Vox and Pantheon. Television audiences have viewed him as solo violist and con-
ductor in the prize winning TV special "Mozart in Seattle" which also features
famed violinist Henryk Szeryng.
Following his very successful 22 year tenure as Music Director of the Seattle
Symphony, Katims was invited to become Artistic Director of the School of Music at
the University of Houston from 1976 to 1984. During 1985 his activites were wide
and diversified, ranging from guest conducting, viola master classes, transcribing
and editing music for the viola (International Music), judging young artists for
ARTS (Arts Recognition Search), San Francisco Opera auditions, and chairing the
screening jury for the Van Cliburn competition. His travels that year also took
Katims to China where he was invited to give viola master classes and conduct at
the Shanghai Conservatory of Music and where he was given a full professorship.
In January of 1986 Katims was invited to conduct and perform as soloist with
the Polish Chamber Orchestra on the Mermoz" (Pacquet Line Caribbean Music
Cruise) along with a number of international artists including James Galway, flutist
and Maurice Andre, trumpeter.
On March 25th, 1996, the anniversary of Toscanini's birthdav, Milton Katims,
along with Rudolf Serkin, Nathan Milstein, James Levine, Janos Starker, Marilyn
Horne, and the Juilliard String Quartet, was presented an Arturo Toscanini Artistic
Achievement Award.
The Spring of 1987 combined guest conducting the Orquesta Philarmonica de la
UNAM in Mexico City, the NWCO in Seattle, and the Manhattan Symphony in New York
City, with viola master classes at the Manhattan School of Music and recording for
VOX the three Bach Gamba Sonatas with pianist Bela Siki.
Bill Monroe - "Father of Bluegrass Music"
William Smith Monroe is one of the giants of 20th century American music.
His involvement with traditional string-band music began about 1921, when he took up the mandolin and joined
with his older brothers in making music on the front porch ot their farm home near Rosine, in western Kentucky.
Under the tutelage of his maternal uncle, who was an influential fiddle-player, Monroe began to acquire his
enormous repertoire of traditional tunes and songs, and planted the seeds of his own musical creativity that
blossomed in later years.
By 1929, he and his older brothers Charlie and Birch travelled to Whiting, Indiana, where they worked at the
Sinclair Oil refinery by day and played square-dance and gospel music at night for local club and radio audiences.
In 1932, the three brothers and their girlfriends were hired as dancers by WLS radio, and toured for a time with tha:
station's National Barn Dance square-dance team. By 1934, Bill and Charlie Monroe decided to make music their
full-time professions, and after playing a series of radio stations in the Carolinas, were signed to RCA records'
Bluebird label in early 1936. The Monroe Brothers cut thirty-six memorable records over the next two years, and
thoroughly established themselves as country-music stars.
Following the dissolution of "The Monroe Brothers" in 1938, Bill put together a band of his own, and in late 1939
Bill Monroe and His Blue Grass Boys joined the Grand Ole Opry radio show broadcast by Nashville's powerful
station WSM. Achieving almost instant stardom, Monroe and his group echoed both the old traditional string-band
and gospel sounds and the newer country and blues-influenced sounds of Jimmie Rodgers, and combined them with
varying instrumentation, with Monroe's piercing tenor voice and inventive mandolin playing always at the center.
The individual members of the Blue Grass Boys came and went, and the sound evolved in various experimental but
audience-satisfying directions. In late 1945, however, Monroe assembled for the first time a group that included all
the key elements of the music that would eventually take its name from his band. With the rolling three-finger
banjo style perfected by North Carolinian Earl Scruggs, the smooth vocal and guitar leads of Tennessean Lester
Flatt, the "hot" fiddling of Floridian Robert "Chubby" Wise, and the solid rhythmic foundation provided by
comedian bassist Howard "Cedric Rainwater" Watts, Monroe created the world's first bluegrass band.
The half-century that has elapsed since the birth of the bluegrass music sound has seen the style emulated and
carried forward by hundreds and thousands of musicians to audiences of millions around the United States and the
world. With a variety of talented musicians serving as "Blue Grass Boys," Bill Monroe continued to develop and
grow his own musical canon, contributing songs, tunes and a far-reaching stylistic influence to all the genres of
American vernacular music from mid-century onwards: hillbilly, country, rockabilly, rock'n'roll, folk-revival, folk-
rock, blues, gospel, and even to such ethnically diverse and far-flung forms as cajun, zydeco, Hawaiian slack-key,
and polka.
In 1970 Bill Monroe was inducted into the Country Music Hall of Fame, and in 1991 he was inducted into the
International Bluegrass Music Association's Hall of Honor.
In 1994 a retrospective career-spanning collection of his music, "The Music of Bill Monroe from 1936 to 1994"
was released, summarizing the ongoing work of this seminal figure on the American musical scene. His enormous
contributions to the music of the South, of the United States, and of the entire world make him a most worthy
candidate for the 1995 NEA Medal of Arts.
Thomas A. Adler, Ph.D.
Executive Director
International Bluegrass Music
MUSIC EDUCATORS NATIONAL CONFERENCE (MENC)
Music Educators National Conference (MENC), with 64,000 members, is
the largest nonprofit organization dedicated to the advancement of music
education at the national and local levels. MENC's activities and resources
have been largely responsible for the establishment of music education as a
profession and for the promotion and guidance of music study as an
integral part of the school curriculum.
Throughout its 88-year history, MENC has contributed to the excellence of
music and music education in America, to its growth as a part of the
standard curriculum, to the support of music education as a respected
profession, and most particularly, in recent years to the availability of
music and the other arts to every schoolchild in America.
Through its many programs, activities, publications, and conferences,
MENC addresses all aspects of music education and works to ensure that
every student shall have access and exposure to a balanced, comprehensive,
and high quality program of music instruction. Toward the end of
promoting the best possible music education for our nation's children and
advancing music education as a profession, MENC provides information,
resources and services for music education professionals and publications
forums for the exchange of ideas.
Working through a network of national board, councils, regional divisions,
and state chapters, MENC fosters the utilization of the most effective
techniques in music education, investigates curriculum needs and develops
resources to meet them. It develops criteria, guidelines, and evaluation
procedures for music education. It encourages excellence by recognizing
individual achievements and contributions to the field. And it maintains an
effective liaison with national organizations that have allied interests in arts
and music education.
It is in this final area that, over the last five years, the Music Educators
National Conference has distinguished itself - by assuming and accepting a
tremendous challenge: to bring together the nation's diverse organizations
representing all the art forms to work together under one banner. Their
goal? The creation of America's first National Standards for Arts
Education as part of the Goals 2000: Educate America Act.
The music educators, working with their colleagues in dance, theater, and
the visual arts, began by gaining consensus around the nation through a
series of open public forums. More than a quarter of a million people
nationwide participated in the development of the standards through these
forums, through professional associations, or through professional
publications.
The effort then moved into high gear, with the experts in each field and the
writers coming together to begin to draft, and redraft, and draft again.
Ultimately - and still under MENC's leadership - the group forged a
document that all participants could agree upon.
That document, which was presented to the Secretary of Education in
March 1994, is part of the agenda of our nation's Goals 2000: Educate
America Act. Published by MENC, the National Standards for Arts
Education: What Every Young American Should Know and Be Able to Do
in the Arts provides a framework for educational programs across the
country. Not only was the framework the first such effort for the arts, it
was the first standards project to reach completion under the Goals 2000
framework.
But MENC's work did not end there, because the standards - voluntary
standards - now face the test of acceptance and implementation at the state
and local level. Here, too, MENC has continued to provide the needed
leadership for arts education.
Since the passage of Goals 2000 in April 1994, MENC made "Standards"
the battle cry of its biennial conference that same month, sending forth
8,000 educators to provide leadership for standards adoption at the local
level. In September, MENC conducted a Summit for leaders in the music
field - from music publishers to public radio stations -to promote
overall acceptance of the National Standards for Arts Education. The
results of the Summit are encapsulated in a book, With One Voice, that is
now being prepared for release.
In addition, MENC has published a number of other key Standards books:
The Vision for Arts Education in the 21st Century -presenting
the ideas and ideals behind the development of the
National Standards for Arts Education
Perspectives on Implementation: Arts Education Standards
for America's Students - examining the issues related to the
critical issue of standards implementation (advocacy, professional
development, opportunity to learn, connections among the arts
disciplines, and assessment). The book also lays out strategies for
long-term implementation efforts by key constituencies such as
parents, school boards, legislatures, and others.
Opportunity-to-Learn Standards for Music Instruction:
Grades PreK-12 - recommending the conditions schools should
provide in order to achieve the National Standards and
MENC's prekindergarten standards
Music for a Sound Education: A Tool Kit for Implementing the
Standards— essential resources for everyone interested in the
fight to provide all children with a rigorous, standards-influenced
curriculum in music. The kit includes Promoting and Implementing
the Standards: A How-to Guide and Something to Aim For (video)
with a presentation by Secretary of Education Richard Riley.
The School Music Program: A New Vision - a blueprint for
a music curriculum to meet the new standards
As a result of its Summit, MENC has also developed a partnership with
Connecticut Public Radio to produce the outreach component for a
national outreach program in support of a public radio series on music and
the standards planned for late this spring.
In many respects, MENC has been the first to follow its own lead in
advocating the local adoption of the standards. Last year, in a publication
entitled "O say, can you sing...?" MENC made this forecast:
What's ahead now is time in the trenches: Budgeting for change,
adopting the standards in your community, and bringing them to life
in the classroom.
It is the work of parents, business and community leaders, local and
state education administrators. Working together. Embracing the
idea of change and implementing it to ensure each child in America
a sound education.
Indeed, if any organization has gladly done its time in the trenches, worked
together with others, embraced change, and played its part for the arts,
education, and America's children, it is the Music Educators National
Conference.
ROCKEFELLER FOUNDATION
A brief history and description of the Rockefeller Foundation
and the Arts
For the entire eighty years of its existence, the
Rockefeller Foundation has sustained work in the arts: sometimes
with a large and deliberately-designed presence; sometimes in a
more informal, or less professionally constructed set of
commitments. But whether the efforts have been large or small,
widely announced or more incidental, the Foundation has always
acknowledged the importance of the arts in its overall
programming. This fact is all the more notable since the
Foundation's primary dedication has been to work in science,
particularly to scienca-based development through medicine and
agriculture, for all of its eighty years. The original arguments
for the inclusion of the arts in the Foundation's mandate were
phrased by Rockefeller advisors early in the 1920's in this way:
"some emphasis on the arts and humanities might be a good balance
for other features of our program. What was the good to keep
people alive and healthy if their lives are not touched
increasingly with something of beauty?" Trustee Anson Phelps
Stokes made a much stronger statement, arguing that the sciences
might not be dangerous to society as long as the humanities were
cultivated as well.
Over the course of time, with all of its changes in
guidelines, in personnel and leadership, in geographical and
philosophical mandates, the Foundation has continued to maintain
its course: to support the "well-being of mankind" through the
support of science and the arts and humanities. There have been
three primary areas of concentration, over time, in support of
the arts: research and development, strengthening American art
forms, and -- most recently -- intercultural and international
activities in the arts.
I. Research and Development in the Arts
While the arts and sciences are perceived in the Foundation
as in the world at large as balancing, as "two cultures" hardly
converging, there is a synergy between them that becomes clear
within the actual grant-making and conceptualizing that takes
place at the Foundation. Both the sciences and the arts depend
for their efficacy, their force and their achievements, on the
continual creativity of researchars and experimenters. In both
the sciences and in the arts, Foundation support has
characteristically been provided for the most venturesome, fast-
breaking talents, and for the most forward-looking work within
institutions. As early as the 1930's, the Rockefeller Foundation
supported disciplines which were radically altering the American
university's understanding of the arts and humanities: modern
languages, the new literary criticism, drama, American Studies,
East Asian studies, Latin American studies, for instance. All of
these disciplines have very much influenced the making and
The Rockefeller Foundation/2
interpretation of art in the United States and carried it past
the more traditional vision which might otherwise have prevailed.
The Foundation also took an early interest in the new mass
media, the "talking" film and radio, making fellowships to
educational broadcasters and documentary filmmakers and
establishing a film library at the Museux of Modern Art in New
York. Many years later, the Foundation was a leader in funding
video artists, public television, and media centers throughout
the country. In these areas and in many others -- modern dance,
performance art, site specific art, the compact disk, just as
examples -- the Foundation has expressed its commitment to the
ideas and tools, the creativities, of the future, by supporting
research and development in the arts.
II. American Art
Surveying the cultural landscape in the United States in the
1930's, an Arts and Humanities officer noted that ideas of Europe
had a monopoly in the arts, and made clear that there was a
"present urgent need for a larger appreciation of the American
cultural heritage." With this need in mind, Foundation officers
initiated programming to position American art and American
artists prominently in their own country and in the world.
Grants were made to help build regional theater groups throughout
the country, to support off-Broadway theater and young American
playwrights. In the twenty five years to follow, support was
extended to new programs in creative writing (writers like
Bernard Malamud, James Baldwin, Flannary O'Connor, benefitted)
and in music. The Louisville Orchestra, for instance, received
support as one of the first to commission and record new work by
American composers. The Foundation helped to establish new dance
companies like the Eliot Feld Ballet, the North Carolina Dance
Theater, the Agnes DeMille Dance Theater; six music
conservatories, and a brace of experimental and regional theaters
focused on American playwrights, including the Public Theater,
the La Mama Experimental Theater Club, the American Place
Theater, the Eugene O'Neill Memorial Theater, the Mark Taper
Forum.
In subsequent years, support of American artists and the
celebration of American artistic contributions was increasingly
focused on the needs of the individual creative artist.
Composers and choreographers were individually funded for their
work, and structured programs were developed to place artists in
creative working relationships with producing or presenting
institutions. Playwrights, video artists and filmmakers,
painters and sculptors were all aided through such programs.
The Rockefeller Foundation/3
Throughout this long period, the preeminence of American
artists became acknowledged not only in this country, but in the
world at large. Rockefeller's long and steady commitment to
America's expression of her values, dilemmas and aspirations had
great rewards. And while Rockefeller was assuredly not the only
player in the remarkable emergence of American artists, the
support of private foundations, including Rockefeller, was
probably a chief factor in this cultural shift.
III. Arts in the Intercultural and International Arenas
In the last decade, the Rockefeller Foundation has begun a
new set of programs which recognize the power of the arts to
represent and connect cultures. Within the United States,
programs support the work of ethnic artists, of alternative
artists, and or the institutions and communities within which
they work. International programming connects these artists with
peers and audiences abroad, and helps to provide the experience
and inspiration that enables new, experimenting work across
national boundaries to take place. In the radically shifting
world in which we live, artists can play a significant role in
creating understanding, empathy and new ideas, embodying the
multicultural and transcultural societies we are becoming.
A working example of such a program is the Fund for U.S.
Artists in International Festivals and Exhibitions, a partnership
of Rockefeller, the Pew Trusts, the U.S.I.A., and the National
Endowment for the Arts. The forming of this partnership has made
possible over the last six years the movement of thousands of
American artists to countries all over the globe: showing their
work, featuring their diversity, and learning new ways of
thinking about the world.
In summary, the Rockefeller Foundation over eighty years has
succeeded in demonstrating ,in its guidelines and in its grants,
the centrality of the arts in modern life. By supporting
experiment, by supporting indigenous work, and - more recently
-- by funding the intercultural movement of ideas and
interpretation through the arts, the Foundation attests to the
force of cultural life and the power of artists. The ability of
private foundations to do this, with continuity, with
flexibility, and to build partnerships with both the corporate
and government sectors on behalf of the arts, provides a mighty
support to culture, probably unique to the United States.
For all these reasons, and for its unflagging belief in
artists, the Rockefeller Foundation is a strong candidate for a
National Medal of Arts.
Want to Paint My Bathroom Blue. 1956: R. Krauss. Birthday
SENDAK, Maurice (Bernard) 1928-
Party. 1957: J. Sendak. Circus Girl, 1957: Ogden Nash. You
Can't Get There from Here. Little. Brown. 1957: Else Minarik.
PERSONAL: Born June 10. 1928. in Brooklyn. N.Y.. son of
Little Bear (ALA Notable Book), 1957; M. De Jong, Along
ilip and Sarah (Schindler) Sendak. Education: Attended the
Came a Dog (ALA Notable Book), 1958; E. Minarik. No
AM Students' League. two years. Home: New York City and
Fighting, No Biting!, 1958; R. Krauss. Somebody Else's Nut
Ridgefield. Conn.
Tree. 1958: Sesyle Joslyn, What Do You Say. Dear? (ALA
Notable Book). W. R. Scott, 1958; E. Minarik, Father Bear
CAREER: Worked for comic book syndicate. All-American
Comes Home (ALA Notable Book). 1959; Janice Udry. The
Comics. part time during high school. adapting the "Mutt and
Moon Jumpers (ALA Notable Book). 1959; Hans Christian
Jeff' newspaper strip for comic books: Timely Service (win-
Andersen. Seven Tales (ALA Notable Book). 1959.
dow display house). New York. N.Y.. 1946: F.A.O. Schwartz.
New York. N.Y.. display artist. three years. During the spring
Wilhelm Hauff. Dwarf Long-Nose (ALA Notable Book). Ran-
of 1964. a one-man retrospective show of Sendak's drawings
dom House. 1960; E. Minarik. Little Bear's Friend, 1960: R.
was held at the School of Visual Arts. New York City: from
Krauss. Open House for Butterflies) 1960: J. Udrey, Let's Be
December. 1975. through February. 1976. a special exhibition
Enemies. 1961: Clemens Brentano. The Tale of Gockel. Hinkel
of original illustrations from Sendak's works was held at the
& Gackeliah. Random House, 1961; E. Minarik. Little Bear's
Ashmolean Museum. Oxford. England. Member: Authors
Visit, 1961: S. Joslyn, What Do You Do. Dear?, Young Scott
League. Awards. honors: Caldecott Medal. 1964. for Where
Books. 1961: C. Berentano, Schoolmaster Whackwell's Won-
the Wild Things Are: Caldecott Medal runner-up for his illus-
derful Sons. Random House, 1962: Charlotte Zolotow, Mr.
trations in A Very Special House. Little Bear's Visit. The Moon
Rabbit and the Lovely Present (ALA Notable Book). 1962: M.
De Jong. The Singing Hill. 1962: 1 en Tolstov
Jumpers. Mr. Rabbit and the Lovely Present. and What Do
You Say. Dear?: Hans Christian Andersen Medal. 1970. for
Childhood. 1963: Robert Keeshan. She Loves Me. She Loves
the entire body of his work: New York Times Best Illustrated
Me Not. 1963: Randall Jarrell. The Bat-Poet. Collier. 1964:
Children's Book Award. 1977. for Fly by Night. Honorary
Amos Vogel. How Little Lori Visited Times Square. 1964: Jan
Doctor of Humane Letters. 1977. from Boston University.
Wahl. Pleasant Fieldmouse. 1964: William Engvick (editor),
Lullabies and Night Songs (ALA Notable Book: Horn Book
WRITINGS-AII for children: all self-illustrated. except where
honor list). Pantheon. 1965; R. Jarrell. The Animal Family
noted: all published by Harper. except where noted: Kenny's
(Horn Book honor list). Pantheon. 1965: Isaac Singer. Zlateh
Window. 1956: Very Far Away, 1957: The Sign on Rosie's
the Goat and Other Stories (ALA Notable Book: Horn Book
Door. 1960: Chicken Soup with Rice (also see below). 1962:
honor list). 1966: George Macdonald. The Golden Kev. 1967:
One Was Johnny (also see below). 1962: Alligators All Around
Robert Graves. The Big Green Book. Crowell. 1968: Frank
(also see below), 1962: Pierre (also see below). 1962: Nutshell
Stockton. Griffin and the Minor Canon (ALA Notable Book:
ibrary (contains Chicken Soup with Rice, One Was Johnny,
Horn Book honor list). Collins. 1968: E. Minarik. A Kiss for
Alligators All Around. and Pierre: ALA Notable Book). 1962;
Little Bear. 1968: G. Macdonald. The Light Princess. Bodley
Where the Wild Things Are (ALA Notable Book). 1963: Hector
Head. 1969: F. Stockton. The Bee-Man of Orn (Horn Book
Protector [and] As / Went Over the Water. 1965: Higglety
honor list). Holt. 1971: Doris Orgel. Sarah's Room. Bodley
Pigglery Pop!: or, There Must Be More to Life (Horn Book
Head. 1971: Jakob and Wilhelm Grimm. The Juniper Tree.
honor list). 1967: In the Night Kitchen (ALA Notable Book).
and Other Tales from Grimm. Farrar. Straus. 1973: R. Jarrell.
1970: Ten Little Rabbits: A Counting Book with Mino the Ma-
gician, Philip H. Rosenbach. 1970: Maurice Sendak's Really
Rosie (based on the television program of the same name),
Flv by Night. Farrar. Straus. 1976: J. and W. Grimm. King
Grisley-Beard. 1978.
1975: (with Matthew Margolis) Some Swell Pup: or, Are You
Sure You Want a Dog?. Farrar. Straus. 1976; (editor) The
Disney Poster Book (illustrated by Walt Disney Studios). Crown.
Other works: Writer. director. lyricist. "Really Rosie" (thirty-
1977: Seven Little Monsters. 1977: Outside Over There. 1981.
minute animated television special: based on characters from
The Nutshell Library and The Sign on Rosie's Door: music
Illustrator: all for children. except where noted: all published
composed and performed by Carol King). CBS-TV. aired Feb-
by Harper. except where noted: M. L. Eidinoff and H. Ruchlis.
Atomics for the Millions (adult), McGraw. 1947: Robert Garvey.
ruary 19. 1975; lyricist and set designer. Really Rosie (musical
Good Shabbos, Everybody!, United Synagogue Commission
play: based on television special of the same title; music by
on Jewish Education, 1951; Marcel Aymé, The Wonderful
Carol King; first producedoff-Broadway, October. 1980): lyr-
Farm. 1951: Ruth Krauss. A Hole is to Dig. 1952: Ruth Saw-
icist, set and costume designer, Where the Wild Things Are
yer, Maggie Rose: Her Birthday Christmas. 1952: B. S. de
(opera: based on the book of the same title; music by Oliver
Regniers. The Giant Story, 1953; Meindert De Jong. Hurry
Knussen: first produced by the Brussels Opera. November.
Home. Candy (ALA Notable Book). 1953: M. De Jong. Shad-
1980): set and costume designer for Wolfgang Amadeus Moz-
rach (ALA Notable Book). 1953: R. Krauss. A Very Special
art's The Magic Flute (opera: directed by Frank Corsaro: pro-
House. 1953: Hyman Chanover. Happy Hanukkah. Everybody,
United Synagogue Commission on Jewish Education. 1954:
duced in Houston. 1980); set and costume designer for Leos
Janacek's The Cunning Little Vixen (opera: produced by the
R. Krauss. I'll Be You and You Be Me. 1954; Edward Tripp.
New York Opera Company. Spring, 1981).
The Tin Fiddle, Oxford University Press. 1954: M. Aymé,
Magic Pictures. 1954: Betty MacDonald, Mrs. Piggle-Wig-
ole's Farm. Lippincott. 1954; M. De Jong, The Wheel on the
ADAPTATIONS-Movies and filmstrips: "Where the Wild
chool (ALA Notable Book). 1954; R. Krauss, Charlotte and
Things are" (filmstrip), Western Woods. 1968; "Really Rosie
the White Horse, 1955; M. De Jong, The Little Cow and the
Starring the Nutshell Kids" (movie), Weston Woods. 1976;
Turtle. 1955: Jean Ritchie, Singing Family of the Cumberlands.
"Pierre" (filmstrip with cassette). Weston Woods. 1976:
Oxford University Press. 1955; B. S. de Regniers. What Can
"Chicken Soup with Rice'' (filmstrip with cassette). Weston
You Do with a Shoe?. 1955; Jack Sendak. Happy Rain. 1956;
Woods. 1976; "Alligators All Around" (filmstrip with cas-
M. De Jong, The House of Sixty Fathers. 1956: R. Krauss. I
sette). Weston Woods. 1976; "One Was Johnny'' (filmstrip
with cassette). Weston Woods. 1976.
Withdrawal/Redaction Marker
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2013-0534-S
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Prior Medal Recipients
NATIONAL MEDAL OF ARTS RECIPIENTS
1994
1990
Harry Belafonte - Singer, actor
George Francis Abbott - Actor. playwright. producer. director
Dave Brubeck - Pianist, bandleader, composer
Hume Cronyn - Actor. director
Celia Cruz - Singer
Jessica Tandy - Actress
Dorothy DeLay - Violin teacher
Merce Cunningham - Choreographer. dance company director
Julie Harris - Actress
Jasper Johns - Painter, sculptor
Erick Hawkins - Dance choreographer
Jacob Lawrence - Painter
Gene Kelly - Dancer, singer, actor
Riley "B.B." King - Blues musician, singer
Pete Seeger - Composer, lyricist, vocalist, banjo player
David Lloyd Kreeger - Arts patron
Catherine Filene Shouse - Arts patron
Harris & Carroll Sterling Masterson - Arts patrons
Wayne Thiebaud - Artist, teacher
Ian McHarg - Landscape architect
Richard Wilbur - Poet, teacher, critic, literary translator
Beverly Sills - Opera singer, director
Young Audiences . Arts presenter
Southeastern Bell Corporation - Corporate arts patron
1993
Walter and Leonore Annenberg - Arts patrons
1989
Cabell "Cab" Calloway - Singer, bandleader
Leopold Adler - Preservationist, civic leader
Ray Charles - Singer, musician
Katherine Dunham - Dancer, choreographer
Bess Lomax Hawes - Folklorist
Alfred Eisenstaedt - Photographer
Stanley Kunitz - Poet, educator
Martin Friedman - Museum Director
Robert Merrill - Baritone
Leigh Gerdine - Arts patron, civic leader
Arthur Miller - Playwright
John Birks "Dizzy" Gillespie - Jazz trumpeter
Robert Rauschenberg - Artist
Walker Kirtland Hancock - Sculptor
Lloyd Richards - Theatrical director
Vladimir Horowitz (Posthumous award) - Pianist
William Styron - Author
Czelaw Milosz - Writer
Paul Taylor - Dancer, choreographer
Robert Motherwell - Painter
Billy Wilder - Movie director, writer, producer
John Updike - Writer
Dayton Hudson Corporation - Corporate arts patron
1992
Marilyn Home - Opera Singer
1988
James Earl Jones - Actor
Saul Bellow - Writer
Allan Houser - Sculptor
Helen Hayes - Actress
Minnie Pearl - Grand Ole Opry Performer
Gordon Parks - Photographer, film director
Robert Saudek - Television Producer/Museum of Broadcasting
I.M. Pei - Architect
Founding Director
Jerome Robbins - Dancer, choreographer
Earl Scruggs - Banjo player
Rudolf Serkin - Pianist
Robert Shaw - Orchestra Conductor/Choral Director
Virgil Thomson - Composer, music critic
Billy Taylor - Jazz pianist
Sydney J. Freedberg - Art historian, curator
Robert Venturi and Denise Scott Brown - Architects
Roger L. Stevens - Arts administrator
Robert Wise - Film producer, director
(Mrs. Vincent) Brooke Astor - Arts patron
AT&T - Corporate Patron
Francis Goelet - Music patron
Lila Wallace-Reader's Digest Fund - Foundation Patron
Obert C. Tanner - Arts patron
1991
1987
Maurice Abravanel - Music director, conductor
Romare Bearden - Painter
Roy Acuff - Country singer, bandleader
Ella Fitzgerald - Singer
Pietro Belluschi - Architect
Howard Nemerov - Writer, Scholar
J. Carter Brown - Museum director
Alwin Nikolais - Dancer, choreographer
Charles "Honi" Coles - Tap dancer
Isamu Noguchi - Sculptor
John O. Crosby - Opera director, conductor, administrator
William Schuman - Composer
Richard Diebenkom - Painter
Robert Penn Warren - Poet
R. Philip Hanes, Jr. - arts patron
J. W. Fisher - Arts patron
Kitty Carlisle Hart - Actress, singer, arts administrator, dancer
Dr. Armand Hammer - Arts patron
Pearl Primus - Choreographer, anthropologist
Mr. and Mrs. Sydney Lewis - Arts patrons
Isaac Stem - violinist
Texaco Inc. - arts patron
1987
Romare Bearden - Painter
Ella Fitzgerald - Singer
Howard Nemerov Writer. Scholar
Alwin Nikolais - Dancer. choreographer
Isamu Noguchi - Sculptor
William Schuman - Composer
Robert Penn Warren - Poet
J. W. Fisher - Arts patron
Dr. Armand Hammer - Arts patron
Mr. and Mrs. Sydney Lewis - Arts patrons
1986
Marian Anderson Opera singer
Frank Capra Film director
Aaron Copland Composer
Willem de Kooning Painter
Agnes de Mille - Choreographer
Eva Le Gallienne - Actress/author
Alan Lomax - Folklorist, scholar
Lewis Mumford - Philosopher, literary critic
Eudora Welty Writer
Dominique de Menil Arts patron
Exxon Corporation Corporate arts patron
Seymour H. Knox Arts patron
1985
Elliott Carter Composer
Ralph (Waldo) Ellison Writer
Jose Ferrer Actor
Martha Graham Dancer, choreographer
Louise Nevelson - Sculptress
Georgia O'Keeffe - Painter
Leontyne Price - Soprano
Dorothy Buffum Chandler Arts patron
Lincoln Kirstein - Arts patron
Paul Mellon Arts patron
Alice Tully Arts patron
Hallmark Cards, Inc. - Corporate arts patron
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Melanne Verveer
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FOLDER TITLE:
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Melanne Verveer to the President re: National Humanities Medals
08/11/1999
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COLLECTION:
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Melanne Verveer
OA/Box Number: 20361
FOLDER TITLE:
Arts [1]
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an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
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and his advisors, or between such advisors [a)(5) of the PRA]
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C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
5:41
August 11, 1999
MEMORANDUM FOR THE PRESIDENT
8-12-99
FROM:
MELANNE VERVEER
RE:
NATIONAL HUMANITIES MEDALS
The National Council on the Humanities has made its recommendations for the 1999
National Humanities Medals.
Included in this binder are the first and second priority lists of recommendations
generated by the Council. The names are listed alphabetically and biographies follow. As you
know, the Council strongly recommends the artists and patrons noted on the first priority list.
Substitutions can be made by the President from the nominees on the second list. Please note
that
(b)(6)
In 1989, the National Endowment for the Humanities instituted the Charles Frankel Prize
to honor a select number of people for contributions to the humanities. In 1997, the name was
changed to the National Humanities Awards. The selection process, as with the Arts Medals,
begins with a solicitation for nominations from the National Endowment for the Humanities. The
National Council on the Humanities reviews the nominations and makes recommendations to the
President. The President selects the final recipients. The Awards are given to individuals or
groups whose work has deepened the nation's understanding of the humanities, broadened
citizens' engagement with the humanities or helped preserve and expand Americans' access to
important humanities resources. You are free to choose up to 12 selections; however, because the
list is so long when combined with the NEA list, you should feel free to select fewer.
Also included in this binder, for your information, is a list of previous National
Humanities Medal recipients. The 1999 Medals will be awarded at a White House ceremony on
September 29.
I would 20 I or 2 from
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(b)(6)
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011b. memo
Melanne Verveer to the President re: National Humanities Medal
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[partial, page 2 in full] (2 pages)
COLLECTION:
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Melanne Verveer
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FOLDER TITLE:
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2013-0534-S
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P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
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P3 Release would violate a Federal statute [(a)(3) of the PRA]
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P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
8-12-99
August 11, 1999
PRESIDENTIAL ACTION MEMORANDUM
FROM:
MELANNE VERVEER
Please choose recipients for the 1999 National Humanities Medal from the following first
and second priority lists of nominees generated by the National Council on the Humanities.
Biographies of each nominee follow under specified tabs.
FIRST PRIORITY NOMINEES
TAB # Nominee
Field
APPROVE
X So
(b)(6)
2
Patricia Battin
Library
3
Taylor Branch
History
(b)(6)
5
Jacquelyn Dowd Hall
History
6
Garrison Keillor
Humor
7
Jim Lehrer
TV Journalism/Literature
8
John Rawls
Philosophy
(b)(6)
10
Steven Spielberg
Film
11
August Wilson
Literature
(b)(6)
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