THE SOCIETY FOR THE

ARTS IN LOUISVILLE

BOOK TWO

BOOK TWO VOLUME THREE

THE SOCIETY FOR THE ARTS IN LOUISVILLE

THE CONTENTS

The Chronologie

The Prologue – The Carriage house

Chapter One The Society for The Arts in Louisville

Chapter Two The Arts in Louisville magazine and Gazette

Chapter Three The Arts in Louisville House

Chapter Four The Arts in Louisville actions

Chapter Five The Society for the Arts in America

CHRONOLOGY

1955	Sept.	1	Society for the arts in Louisville incorporated
1955	Aug.	17	Leased three shotgun houses across from 1011 S 5th street
1955	OCT.	1	Arts in Louisville magazine begins publication which continues Through twenty eight monthly issues concerning the arts through June 1858
1956	Jan.	5	Establishment of arts in Louisville art school
1956	June	1	Publication of an album of eight abstract lithographs by edgard pillet, pilgrim press
1957	April	12	Arts in Louisville arts festival, lemon galleries, 223 E. Broadway
1957	Nov.	1	Leased 519 Zane street building for arts in Louisville house
1957	Dec.	14	Arts in Louisville house opens at 518 Zane street
1958	July	7	A.I.L.H theater opens with Hemingway ‘today is Friday’, and beckett “recorder” John Seitz, director, arts in Louisville players
1958	Aug.	15	A.I.L.H theater: Camino real, .john billings, director, A.I.L. players
1958	Oct.	6	Gazette of the arts in Louisville, first issued. Continues through
			June 1, 1858. Fifteen issues, fort-nightly
1959	April	14	Kai winding trombone septet, thru 4/1 6
1959	July	15	Dizzy Gillespie .jazz quintet thru 7/1 b
1959	Aug.	1	Dizzy Gillespie .jazz quintet thru 8/3
1959	Aug.	5	A.I.L.H theater: psyche’s cafe, .john Seitz , director, A.I.L. players .
1959	Aug.	17	J. J. Johnson quintet, thru 8/18
1960	Feb.	11	Art van damme quintet, thru 2/1 3
1960	Feb.	25	Teddy Wilson trio thru 2/27
1960	Mar.	31	Cannonball Adderley quintet, thru 4/2
1960	April	30	Ramsey Lewis trio, thru 5/2
1960	May	13	Earl Bostic septet
1960	May	19	Josh white, thru 5/21
1960	June	11	Roy eldridge
1960	June	17	Max roach quintet
1960	Oct.	3	Herbie Mann sextet, thru 10/3
1960	Nov.	6	Barbara Carroll trio, thru 11/8
1961	Oct.	14	Don Murray trio, history of .jazz
1961	Oct.	20	Donald Byrd-pepper Adams quintet, thru 10/21
1963			Leo quits. Had enough of Louisville culture, cynic that he was.
1963	Oct.	15	Dukes of Dixieland
1964	Jan.	18	Ramsay Lewis trio
1964	Feb.	28	The ink spots, thru 3/1
1964			Arts in Louisville gives up the ghost courtesy rjthe Jacobson

CHRONOLOGIE – THE SOCIETY- FOR THE ARTS IN LOUISVILLE

1955-1984

1953	Sept.		The carriage house gallery and art shop opens
1955	Sept.	1	Society for the arts in Louisville incorporated
1955	Aug.	17	Leased three shotgun houses across from 1011 s 5th street
1955	Oct.	1	Arts in Louisville magazine begins publication which continues
			Through twenty eight monthly issues concerning the arts through June 1858
1956	Jan.	5	Establishment of arts in Louisville art school
1956	June	1	Publication of an album of eight abstract lithographs by edgard pillet, pilgrim press
1957	April	12	Arts in Louisville arts festival, lemon galleries, 223 e. Broadway
1957	Nov.	1	Leased 519 Zane street building for arts in Louisville house
1957	Dec.	14	Arts in Louisville house opens at 518 Zane street
1958	July	7	A.I.L.H theater opens with Hemingway ‘today is Friday’, and beckett “recorder”
			.John Seitz, director, arts in Louisville players
1958	Aug.	15	A.I.L.H theater: Camino real, .john billings, director, A.I.L. players
1958	Oct.	6	Gazette of the arts in Louisville, first issued. Continues through
			June 1, 1858. Fifteen issues, fort-nightly
1959	April	14	Kai winding trombone septet, thru 4/1 6
1959	July	15	Dizzy Gillespie .jazz quintet thru 7/1 b
1959	Aug.	1	Dizzy Gillespie .jazz quintet thru 8/3
1959	Aug.	5	A.I.L.H theater: psyche’s cafe, .john Seitz , director, A.I.L. players .
1959	Aug.	17	J.J.Johnson quintet, thru 8/18
1960	Feb.	11	Art van damme quintet, thru 2/1 3
1960	Feb.	25	Teddy Wilson trio thru 2/27
1960	Mar.	31	Cannonball Adderley quintet, thru 4/2
1960	April	30	Ramsey Lewis trio, thru 5/2
1960	May	13	Earl Bostic septet
1960	May	19	Josh white, thru 5/21
1960	June	11	Roy eldridge
1960	June	17	Max roach quintet
1960	Oct.	3	Herbie Mann sextet, thru 10/3
1960	Nov.	6	Barbara Carroll trio, thru 11/8
1961	Oct.	14	Don Murray trio, history of .jazz
1961	Oct.	20	Donald Byrd-pepper Adams quintet, thru 10/21
1963			Leo quits. Had enough
1963	Oct.	15	Dukes of Dixieland
1964	Jan.	18	Ramsay Lewis trio
1964	Feb.	28	The ink spots, thru 3/1
1964			The society for the arts in Louisville vanishes

THE INDEX – VOLUME THREE BOOK TWO – ARTS IN LOUISVILLE

The contents page of book, two

La chronologie page of book, two

The prologue – the carriage house

The prologue – the carriage house
Page	0	Title pg carriage house
Page	1	The carriage house prologue
Page	2	The carriage house
Page	3	The carriage history
Page	4	The carriage history
Page	5	The art school
Chapter one the society for the arts in Louisville introduction
Page	1	Arts in Louisville promotion
Page	2	Arts in Louisville promotion
Page	3	Louisville magazine report
Page	4	courier-journal report
Page	5	Courier-journal report
Page	6	Chapter member roster
Chapter two the arts in Louisville publications
Page	1	Wrye and Fitzpatrick at linotype
Page	2	Magazine raison d’etre
Page	3	magazine factsheet
Page	4	introduction to articles index
The arts in Louisville magazine article index
Page	1	Article index
Page	2	Article index
Page	3	Article index
The arts in Louisville magazine and gazette
Page	1	Typography
Page	2	Printing process
Page	3	Arts in Louisville magazine covers
Page	4	Arts in Louisville magazine covers
Page	5	Arts in Louisville magazine covers
Page	6	Arts in Louisville magazine covers
Page	7	magazine staff photo
Page	8	The arts in Louisville gazette page
Page	9	The arts in Louisville gazette introduction
Page	10	The advertisement for magazine articles
Page	11	The advertisement. For gazette editorials
Chapter three the arts in Louisville house
Page	O	Arts in Louisville house drawing
Page	A	Introduction to arts in Louisville house
Page	B	Introduction to arts in Louisville house
Page	C	Courier journal article
Page	D	Courier journal article
Page	E	Courier journal article
Page	F	Arts in Louisville hous descriptions
Page	G	Arts in Louisville hous descriptions
Page	H	Arts in Louisville hous descriptions
Page	I	Arts in Louisville hous descriptions
Page	1	Arts in Louisville map
Page	2	arts in Louisville map
Page	3	Arts in Louisville floor plans
Page	4	Arts in Louisville floor plans
Page	5	Arts in Louisville floor plans
Page	6	Arts in Louisville floor plans
Chapter four the arts in Louisville actions
Page	0	Introduction to arts in Louisville actions
Page	1	The arts in Louisville art school 2pgs
Page	2	The arts in Louisville the are 3 pgs
Page	3	The arts in Louisville art galleries
Page	4	The art litho project 2 pgs
Page	5	The arts in Louisville evidentia 4 pgs
Page	6	The arts in Louisville drink and dine 7 pgs
Page	7	The arts in Louisville integration notes 3 pgs
Chapter five the society for the arts in America
Page	0	Introduction to arts in America effort
Page	1	Prospect
Page	2	Ration al
Page	3	Propos al
Page	4	Experience
Page	5	Experience
Page	6	Structure
Page	7	Membership/ circulation
Page	8	Advertising
Page	9	Computation
Page	10	Editorial
Page	11	Editorial
Chapter six Wrye arts in Louisville retrospectif

CHRONOLOGIE – THE SOCIETY- FOR THE ARTS IN LOUISVlLLE

1955 – 1964

1953	Sept.		The carriage house gallery and art shop opens
1955	Sept.	1	Society for the arts in Louisville incorporated
1955	Aug.	17	Leased three shotgun houses across from 1011 S 5th street
1955	Oct.	1	Arts in Louisville magazine begins publication which continues
			Through twenty eight monthly issues concerning the arts through June 1858
1956	Jan.	5	Establishment of arts in Louisville art school
1956	June	1	Publication of an album of eight abstract lithographs by edgard pillet, pilgrim press
1957	April	12	Arts in Louisville arts festival, lemon galleries, 223 e. Broadway
1957	Nov.	1	Leased 519 Zane street building for arts in Louisville house
1957	Dec.	14	Arts in Louisville house opens at 518 Zane street
1958	July	7	A.I.L.H theater opens with Hemingway ‘today is Friday’, and beckett “recorder”
			.John Seitz, director, arts in Louisville players
1958	Aug.	15	A.I.L.H theater: Camino real, .john billings, director, A.I.L. players
1958	Oct.	6	Gazette of the arts in Louisville, first issued. Continues through
			June 1, 1858. Fifteen issues, fort-nightly
1959	April	14	Kai winding trombone septet, thru 4/1 6
1959	July	15	Dizzy Gillespie .jazz quintet thru 7/1 b
1959	Aug.	1	Dizzy Gillespie .jazz quintet thru 8/3
1959	Aug.	5	A.I.L.H theater: psyche’s cafe, .john Seitz , director, A.I.L. players .
1959	Aug.	17	J.J.Johnson quintet, thru 8/18
1960	Feb.	11	Art van damme quintet, thru 2/1 3
1960	Feb.	25	Teddy Wilson trio thru 2/27
1960	Mar.	31	Cannonball Adderley quintet, thru 4/2
1960	April	30	Ramsey Lewis trio, thru 5/2
1960	May	13	Earl Bostic septet
1960	May	19	Josh white, thru 5/21
1960	June	11	Roy eldridge
1960	June	17	Max roach quintet
1960	Oct.	3	Herbie Mann sextet, thru 10/3
1960	Nov.	6	Barbara Carroll trio, thru 11/8
1961	Oct.	14	Don Murray trio, history of .jazz
1961	Oct.	20	Donald Byrd-pepper Adams quintet, thru 10/21
1963			Leo quits. Had enough
1963	Oct.	15	Dukes of Dixieland
1964	Jan.	18	Ramsay Lewis trio
1964	Feb.	28	The ink spots, thru 3/1
1964			The society for the arts in Louisville vanishes

THE CARRIAGE HOUSE

ART GALLERY ART ACADEMY ART MATERIAL EMPORIUM

With that famous last sexually harassing advertisement shown down there on the right, the carriage house sold out and closed its doors. just a few. Jumps ahead of the wrecking ball. The carriage house is saluted here in this introduction to the whole arts in Louisville episode as it was the germinal of the whole arts in Louisville extravaganza.

At number 1011 south fifth street in Louisville was a carriage house built circa 1880 behind one of the many mansions then facing upon fourth street. There were many carriage houses in downtown Louisville, way back then, which served as housing for carriages, stables for horses, and living quarters for servants. Almost all faced on alleys, but not this one particular carriage house.

An ancient road south of Broadway was built before the north south grid system was established. When fifth street was extended south of Broadway it ran into this earlier wryly skewed road which ran off to the south southeast. Rather than destroy the buildings along this more ancient venue, fifth street obligingly bent and followed to the south southeast. This accounts for the shallow depth of the fourth street properties south of Kentucky street, and the fact that this carriage house in discussion faced on a street, not an alley, and thus it was to become famous, too.

THE CARRIAGE HOUSE

The carriage house, which lived on fifth street in Louisville for some eighty-five years just south of Kentucky street, was witness to the Louisville beginnings of Leo Wrye’s scheming plans -many of which were hatched there and bore strange fruit. Besides serving as Wrye’s studio, art gallery, art materials emporium, and print shop, it also afforded thespians space in its lower northern regions for the carriage house players organization. Built of solid brick about eighteen eighty-five, it housed horses and carriages for its fourth street mansion. Due to a quirk early on in street building priorities, fifth street angled toward fourth and created a site which permitted a stable to present its face directly on to a main thoroughfare. Abandoned by Wrye in fifty-seven for the establishment of the arts in Louisville house just around the corner on Zane, it fell into disuse and was summarily demolished by crude and unenlightened individuals soon afterward.

Returning from Paris, after five more impressive years there, Wrye needed to find a place to stash his stuff -accumulated paintings and the such.

Not far from his rented apartment in “old Louisville” he made the fateful stumbling upon of one c. Douglas Ramey, a Pikeville Kentucky escapee, who had come to Louisville to ply his trade as a thespian. This enterprising gentleman had cleared out the carriage side of this old carriage house down there on fifth street, but had left the dirt-floor stable-side in historic preservation.

In the carriage-side, Ramey was producing, with a small band of brilliant young actors, all sorts of drama in his tiny fifty-seat theater-in-the rectangle-theatre – renderings from Elizabethan to Westchester. It was a class act all the way.

As Ramey could use help in coming up with the rather steep monthly rental payments of thirty a month, he gratefully allowed Wrye to share the facilities for twenty per. As Wrye got the upstairs along with the dirt floor stable, too, it was only fair that he pays twice as much as Ramey. That’s business.

To carry this extra financial liability Wrye slyly hit upon a scheming plan. If he were to open a store that sold artists materials, then he would be able to save grossly upon his own material costs, and the savings would then offset his steep rental share. Eureka!

Wrye, in the stable, with some hired help, removed the horse stalls, shovelled out that which the horses had left behind, and a goodly batch beneath that, and had some concrete poured as a more sanitary replacement.

He ordered some paint and brushes and canvas and the like. Built some shelves. Hung out a sign. And opened for business.

Upstairs he cut a hole in the roof and covered it with one big piece of glass and voila! A studio. There was still one large room left.

As there were at the time, 1853, but only two places to see paintings in Louisville – the speed museum, which effectively only was open by appointment – and the W.K. Stewarts book store , on downtown fourth street, which generously sported a small art gallery up a flight of stairs and back through the bookkeeping department to the rear of the store next to the supply room and past the employees’ toilet- it crossed Wrye’s scheming wry mind that an art gallery might use up his expensive unused upstairs space quite nicely.

Wrye hung lights, painted the brick walls and even swept the floor. Voila! Again – Louisville Kentucky’s newest, and now third! art gallery was open.

The commercial history the art store fills up some later space in the lion company’s share of book ten in volume two. The art gallery and art school ought be talked about here in their predecessor roles in the formation of the society for the arts in Louisville. So as they ought – they will.

The art gallery was an immediate miniscule success. Many of Louisville’s very few artists right away welcomed the chance to show their stuff. Many group shows and individual shows were put together back in those days. The art pages of the Sunday courier journal carried news of the carriage house gallery”s triumphs almost every Sunday, as the C.J. Art critic had little else to write about. Sales of the artists’ work was non-inspiring, although it must be suspected that some private non-comission deals were made sub-rosa post-closing. (it is so hoped)

The carriage house gallery did attract some attention in the unburgeoning artists’ community, and did become sort of an unofficial rallying point for rallying around about art things.

Which led to the suggestion by some or several of the local artists that maybe an informal art school in addition to the university’s courses and the long established art center school might not only make some dough re ml for a few artists who would teach art, but could enhance the image of the art emporium and a proposed fledgling arts society.

Wrye came up with andther scheming plan. Playing upon the utter penuriousness of the eisenhower depression populi, Wrye proposed free art classes for one and all. A complete supply of art materials would be required for the four-week course, of course – available only at the carriage house art material shop – of course – for the very reasonable discounted price of ten bucks, with the art professors and school thrown in gratis .

One of Doug Ramey’s budding young actors (mitch Ryan of Hollywood fame) was hired to march up and down the fourth street shopping district blatantly distributing elegant inspiring broadsides to interested passers-by joyfully proclaiming this extraordinary cultural opportunity. (fourth street was then the only shopping mall that Louisville could boast of back in those deep dark ages.)

There were many opportunity seekers out there. Wrye rented three shot-gun houses across the street from the carriage house there along fifth street, converted them each to studio school-houses, and hired eight or ten artists as teachers for a very basic course in the art of oil painting which included in it a system for color mixing which Wrye had developed whilst in france. Hundreds signed up. Many re-enlisted to continue in more advanced courses offered by the small cadre of art teachers on hand. (some of whom parallely also taught at our other art schools in town.)

Realizing that there may be many more culturally starved out there in the great Louisville outback, and that many of these culturally starved out there might be hungering for not only the plastic arts of painting and sculpture, but the lesser

Forms – music, literature, poetry, ballet, opera, theatre, and the like – Wrye and his co-conspirators, the artists, began to form notions, while fervently discussing over weak and strong drink, a grandiose scheme of collaboration, some sort of rally-crying publication was bruited about for and by the several arts.

Wrye would purchase foundry type, a linotype machine, a printing press, and would set up a complete print composition shop to facilitate and execute the publication of this ambitious scatter-brained project. But then, Wrye dug printing. He had actually already had some experience with simpler forms of information disemination systems in the military, and was fascinated by the layout and design of the art publication art o’aujourd’hui as accomplished by his partner edgard pillet whilst in post-war Paris.

It was still only nineteen fifty-five.

Wrye as but thirty-one.

Note: the carriage house art school was a mildly enough successful operation that the management of carriage house operations, Wrye hisself, approved the transformation of its name into the arts in Louisville school of art under the direction of the director of the burgeoning society for the arts in Louisville – actually Wrye hisself also. He and it operated under that august designation henceforth.

THE CARRIAGE HOUSE SUMMERTIME ART SCHOOL

A REPRINT OF THE RATHER AMBITIOUS CARRIAGE HOUSE

ART SCHOOL SUMMERTIME PROGRAM OF NINETEEN FIFTY-FIVE

Basic drawing

Thursday evening 8:00-10:30 pm.

Instructor Mr. Harold Thurman

Tuition-$21.50 June 9-July 28

A class that will acquaint the beginning artist with fundamental problems of drawing. Treating perspective, drawing from the model, and rendering of three dimensional form. Various drawing techniques will be explored, -pencil, crayon, charcoal, pen, brush and ink.

Life drawing

Friday evening 8:00-10:30 p.m.

Tuition-$12.00 June 10 July 29

This is a class fashioned after the French “croquis.” an opportunity for the experienced artist to concentrate on his drawing of the human figure. Class without instruction.

Fundamentals of oil painting

Tuesday mornings 9:30-12:00 noon

Tuesday evenings 8:00-10:30 p.m.

Instriuctor Mr. Leo Wrye

Tuition-$12.00 June 14-august 2

An introductory course, designed for the absolute beginner, stressing tools, color theory and color mixing and oil painting techniques. Acquaints the beginning painter with his tools and gives him an artist’s vocabulary with which to work. Foundation material for all further work in oil painting.

Beginning oil painting

Wednesday evening 8:00 10:30 p.m.

Instructor. Mr., joseph Fitzpatrick

Tuition–$18.00 June 8-July 27

Individual and group instruction for beginning painters of some previous experience, class will work through the basic problems of picture making such as two and three dimensional compositions, color selection and color relationships in special statement as well as concentrations on various techniques of paint application and surface development. A class that gives the beginning artist the necessary foundation for the creation of well-constructed paintings.

Intermediate oil painting

Thursday evening 8:00 10-30 p.m.

Instructor Mr. Joseph Fitzpatrick

Tuition-$18.00 June 9-jolly 28

For the painter of some experience who wishes to work on personal projects with the assistance of an instructor. Color and painting techniques appropriate to individual picture problems and their solution will be of primary importance in this class.

Landscape painting for beginners

Thursday morning 9:30-12:00 noon

Instructor Mr. Joseph Fitzpatrick

Tuition-$18.00 June 9-July 28

A class for beginning painters who wish to work with a group out of doors in locations that will afford both interest for picture making and material presenting problems in composition and color that will serve as areas of concentration in the learning process.

Open studio

Monday-through-Friday afternoons

Instructor Mr., Harold Thurman

Tuition-$12.00 June 6-July 29

Arranged for students who wish to have constructive criticism and direction as well as a place to work, but who are capable of working on individual projects.

Critanalysis group

Tuesday evening 8:00 10:30 p.m.

Instructors -staff

Tuition-$3.00 June 14, 28, July 12, 26

This class has been created for those painters who are unable to attend a regular class of instruction but do value helpful analysis, criticism, and discussion of their work done independent of a class. Group criticism is a valuable learning process, each artist benefitting from the other artists’ experience, as well as discussion of his of his own work. All members of the teaching staff will participate in the four meetings of this summer series.

Sculpture, beginning and intermediate

Wednesday evening 8:00-10 p.m.

Instructor Mr. Barney bright

Tuition-$18.00 June 8-July 27

A class desiqeno to acquaint the beginning sculptor with the

Fundamentals of the art: three dimensional compositions and

Aesthetic modeling sculpting and casting techniques and processes. The beginning student will concentrate on portrait modelling in clay, while more advanced students may arrange individual work.

Sculpture, teen age class

Thursday evening 8:00-10 pm.

Instructor Mr. Barney bright

Tuition-$18.00 June 9-July 28

A class for teen-age artists in sculpture. Through the medium

Of portrait modeling in clay, the class will teach the principles of composition in three dimensional form, and various sculpture techniques. For the student with some experience special projects may be arranged.

Landscape painting, teen-age class

Monday and Wednesday mornings

Instructor Mr. Joseph Fitzpatrick

Tuition $18.00 for b classes $32.00 for 16 classes June 6-July 27

This is a class for young students with special emphasis on problems of design and composition, and the development of individual style. Students will work from nature under supervision of the instructor. Watercolor, tempera, and oil.

Painting outdoors

Saturday morning 9:30 -12:00 noon

Instructor Mr. Harold Thurman

Tuition–$18.00 June 11-July 30

Class will meet outdoors within the city at locations of pictorial interest with particular attention to the selection and development of painting in landscape. All media.

Painting workshop

Friday evening 6:00-10:30 p.m.

Instructor Mr. Harold Thurman

Tuition-$18.00 June 10-July 29

For students of previous training, students will work individually with the medium of their choice on personal projectsunder close supervision of the instructor.

Painting of flowers

Friday morning 9-30-12:00 noon

Instructor Mr. Maurice Robertson

Tuition-$18.00 June 10-July 29

For those painters who wish to develop their ability in the specialized field of the painting of flowers. Study in composition and design in flower arrangement for painting, sketching, and drawing and the techniques of rendering in watercolor and oil.

Studio space will be provided at the carriage house in case of inclement weather.

VOLUME THREE BOOK TWO CHAPTER ONE

ARTS IN LOUISVILLE

What

A society for the arts in Louisville

A magazine of the arts in Louisville

A working organization created to

Co-ordinate the individual efforts being made

In each of the arts into a single

Unified force to build a richer

More mature life for Louisville

A live and vital city is a city of people actively interested in

The arts and sensitive to the importance of the arts in a society.

Louisville is witnessing a growth of interest and participation in

The fine arts unequaled in its past. Louisville is growing up.

Why

To co-ordinate this growth toward maturity, to add strength to

The movement, to create collective impetus, a society for the

Arts in Louisville is formed. Through group effort and

Cooperation rather than unconnected action, the arts will

Reach a new level of eminence in Louisville.

Through “arts in Louisville”, a monthly magazine of the arts

Designed and written by Louisville’s most capable artists,

Writers and critics. The editorial perspective is informational,

Factual and educational. Its contents will include a complete

Calendar of coming events, articles of interest in art, architecture,

cinema, dance, drama, literature, music, townscape, and

Graphic design, as well as a children’s section, profiles

Of personalities on the Louisville art scene, plus many

How

Additional features, departments, and articles, all written in a

Thoroughly readable manner, intelligently conceived, and

Beautifully designed.

Through the society for the arts in Louisville, an organization of

People interested in the arts, interested in the stimulation of

Their growth in Louisville through the support of existing art

Groups and the sponsorship of new events and activities in the

Arts that will further promote participation of the artists and

Public alike in the cultural life of our city

Among those actively participating in the formation of the society

And the creation of the magazine are joseph Fitzpatrick, Sidney

Harth, Harold Thurman, Morton Joys, Nancy Marshall, bill habich

Who

Kermit downs, C Douglas Ramey, louis Frederick, Ruth seifart,

Grady clay, and Leo Zimmerman. This a group of young, energetic

Louisvillians, artists and enthusiasts for the arts, who will

Work to build the arts more firmly into the life of Louisville

INTRODUCTION – THE SOCIETY FOR THE ARTS IN LOUISVILLE

CITY’S ECONOMIC, CULTURAL GROWTH SPEARHEADED BY LOCAL ARTISTS

Because of such growing interest in Louisville’s cultural progress, a group of young artists recently founded the society for the arts in Louisville.

In conjunction with a number of local commercial establishments, this non-profit organization provides a number of discounts con records, books, theater and concert tickets) for approximately boo members. It’s main function, however, is publication of arts in Louisville magazine.

Arts in Louisville is designed to provide a forum for an exchange of Ideas on various phases of art; it also further aims to make art more intelligible and meaningful to the “uninitiated.” to achieve these goals, the editors have assembled a staff which writes on subjects such as painting, music, cinema, literature. Theater, television and architecture.

Although arts in Louisville is directed mainly toward this community. It has aroused considerable interest outside Kentucky, because no other city has a magazine of such scale and scope and because its editorial staff includes some nationally-known names.

For instance, the townscape column is written by Grady clay, courier-journal building and real estate editor. Mr. Clay has been a Louisville newspaper man for a number of years and has contributed articles to national magazines. He is vice-president of the national association of real estate editors and is the local correspondent for the New York times, architectural forum and house and home. From 1948-49, Mr. Clay attended Harvard university as a nieman fellow specializing in urban geography, planning and allied matters.

The music section of arts in Louisville is edited by Sidney harth, concert master and assistant conductor of the Louisville orchestra. Harth is also associate professor at the university of Louisville school of music.

Leo Wrye is the magazine’s director of publications and its art editor, is an active painter. Joseph Fitzpatrick is the magazine’s chief editor. He has worked on views magazine and as editor of the French arts magazine Janis and 10. He is also a practicing artist.

– Betty Bennett Louisville magazine may 20, 1956

Artists Leo Wrye. Left. Director of publication. And editor-in-chief joseph Fitzpatrick prepare another issue of arts in Louisville for the printer. Magazine is just completing its first season.

ARTS IN LOUISVILLE NEWS CUP

PAINTER LEO WRYE SPARKS MOVEMENT TD SYNTHESIZE THE ARTS

What is needed among the several movements of Louisville’s current arts renaissance is cross-pollination, thinks painter Leo Wrye.

To prove his point, Wrye has gone on a 16-hour-a-day work schedule. As the man behind the city’s new organization to “synthesize the arts.” he believes he’s already watching the cross-pollination take place.

Wrye, at 30, talks about art as energetically as he paints boldly colored abstract canvases. “you were bitten by an Indian,” once remarked an artist friend, looking at his work.

“but getting this thing started, I haven’t painted in two months,” he said. The society for the arts in Louisville is tapping his creative resources right now.

The society will introduce non-artists to cultural activities in Louisville, says Wrye. It’s also a “sort of an artists’ co-operative” which will keep the city’s painters, musicians, sculptors, architects, theater folk posted on what’s happening in all fields of art. And it will be an ‘artists’ anonymous,” if one should need help.

“there’s another facet to this thing, too,” he said. “members will get reductions on tickets to concerts, plays, exhibits. They’ll be able to buy records and reproductions of paintings at 25 per cent off. We’re working on a price reduction for FM radios.”

The society was chartered a month ago. The first issue of its monthly publication, arts in Louisville, will appear October first. The editors are Louisvillians who are professional artists or art enthusiasts.

” I am the publisher and also art editor.” said Wrye. “louis Frederick, a design consultant is the graphic design editor. Joseph Fitzpatrick, a graduate art student at the university of Louisville, is editor-in-chief. He sets the pitch. Morton Joyes, a bookstore owner is books editor. We haven’t decided yet who’ll be ideas editor.” Wrye is the director of the carriage house art gallery, at 1011 s. Fifth street, where the society has its offices.

THE SOCIETY FDR THE ARTS IN LOUISVILLE CHARTER MEMBERSHIP ROSTER DECEMBER, NINETEEN FIFTY-SEVEN

Here printed on these three pages is the charter membership list for the society for the arts in Louisville as of December 1955. By actual count – made much more difficult by all those married people. The body-count comes out to four hundred and twenty-four bodies.

These fine people were the nucleus of the germ-cell which within two years had germinated into a group of almost three grand. Later joiners had the added inducement of cheap booze at the famous arts in Louisville house on Zane street, about which read in this volume three, if you please.

“The ideas page will be something tying the arts to personalities. It’ll be written by psychologists, philosophers, sociologists,” he said.

Each month arts in Louisville will carry a complete calendar of art, music, dances, and theater events scheduled here in Louisville. A special adviser for the magazine, will be painter-sculptor edgard pillet of Paris, France, who joined the staff of the university of Louisville art department this month. Pillet is the former secretary-general of the magazine art D’aujourd’hui, a monthly synthesis of the arts published in Paris.

Wrye, who spent five years painting in Paris, met pillet there.

Marie graves is helping with the society, too. She’s keeping track of members and typing for the magazine. From Lexington, she’s a graduate of the university of Louisville with a major in art history.

The cover designed by art teacher Harold Thurman for the first arts in Louisville magazine will repeat the title in line after line of bold type across front of the magazine.

Checks for the society’s five dollar yearly dues are arriving on Wrye’s desk every day, he says. “‘ne already have hundreds of members without any prompting at all. There’s a real arts renaissance going on in Louisville. If we can give it a little extra punch and a sort of centripetal force to pull things together.

. But we’re not trying to create a city of artists here. It’s for the general public, too. Others have done so much already. We aren’t competing with any established organization. We want to promote all the arts. That’s done for soap, cornflakes, and beer, why not art? Of course art shouldn’t need any promotion, but, it does.”

-sara lansdell

 

ARTS IN LOUISVILLE MAGAZINE

VOLUME THREE BOOK TWO CHAPTER TWO  

ARTS IN LOUISVILLE MAGAZINE – INTRODUCTION

Pictured here (by famed life magazine photographer Alfred Eisenstaedt is arts in Louisville magazine editor-in-chief .joseph Fitzpatrick searching tendered typewriter-written double-spaced typescript originating from the feverish mind of one or more of his courageous clutch of his estimable arts editors for ineffable but subtle nuances of aesthetic insights and misspellings of easy words, .joined by linotype-artist Leo Wrye at the keyboard, the “quadruple-threat” man for the arts in Louisville magazine effort, who is shown here in doubt. 

Wrye is here incorrectly characterized as a “quadruple-threat man” as he was publisher, typesetter, illustrator, designer, layout and make-up man, as well as contributing art editor to the magazine, because “sextuple-threat man” would imply or suggest un-merited salacious proclivities. 

Imposingly dominating the scene noisily with its whirring belts and straps, grinding gears and the din of huge multi-tiered racks of cams on shafts cranking and clashing, over the hiss of its gas-flamed lead smelter, patiently looms the 1912 Mergenthaler “bluestreak” former courier-.journal newspaper special single matrices magazine newspaper linotype machine upon which the cultural verbal-assault took form as the still hot cast typemetal insights and vituperations cooled albeit impatiently upside-down and backward in the receiver. 

What would appear to be the November 1956 and the January 1957 issues are carelessly arrayed in the foreground for effect, it is thought.

 

ARTS IN LOUISVILLE MAGAZINE RAISON D’ETRA 

Through- “arts in Louisville, – a monthly-magazine of the arts-design! -and written by Louisville’s most capable artists, writers and critics. The editorial perspective is informational, factual and educational. Its contents will include a complete calendar of coming events, articles of interest in art, architecture, cinema, dance, drama. Literature, music, townscape, and graphic design, as well as a children’s section, profiles of personalities on the Louisville art scene, plus many additional features, departments, and articles, all written in a thoroughly readable manner, intelligently conceived, and beautifully designed. Through the society for the arts in Louisville, an organization of people interested in the arts, interested in the stimulation of their growth in Louisville through the support of existing art groups and the sponsorship of new events and activities in the arts that will further promote participation of the artists and public alike in the cultural life of our city. – excerpted from original promotional flyer of November 1855 

And that is pretty much as it happened – except for that insidiously silly children’s part. Somehow that never came up again in polite conversation.

The thinking behind this ambitious arts project was that if Louisville were to succeed in producing and sustaining the arts and cultural renaissance which was at the time being shamefully falsely hyped and trumpeted by shamans from several quarters – the orchestra contingent, for example, the Louisville fund for the arts collection agency, some members of business community – in the belief that somehow embracing culture enhanced their images – from the newspapers as a source of page-fill between the lady’s ready-to-wear ads, and from various other well-wishers for their own covert and suspect ulterior motives, that something dramatic ought be done to misdirect these machinations into a channel of more basic artistic integrity.

 Waye had repeatedly repeated over and over again, quote – “the unpainted wood is as smoke” – (which the wind driveth away”.) As these profound woods were continually on his lips and mind; it would seem then only but natural that he would connect the painted wood with the renaissance mania. 

Also must be taken into consideration Wrye’s hidden agenda as alluded to casually in the previous painting tools chapter which is reprinted below.

“one possibly might possibly suggest that Leo Wrye was psychopathologically 

Obsessed with the act of creation, and one’s suggestions would not seem irrational to a rational individual like Wrye himself, who most probably could have been considered a rational individual. Wrye himself, though, would formulate the conception of his obsession in more rational 

Explanation. Wrye would maintain that down through his many creative years he has actually been selectively winnowing his vast renaissance participation in a multitude of potential creative avenues – separating the sheep from the goats – more and more, as well as less and less, he has filtered his life’s efforts into more and more profound explorations of the visual arts and the graphic arts, wherein lived for Leo Wrye the highest and the deepest and most surprising and engaging of all satisfactions. Wrye quietly, selectively, and even irrevocably forsook all others.

The devil takes the all others -together with the proverbial hindmosts.”

Creative page layout, graphic design, typography printing, have, as it may be garnered from this brief archive’s effusive exposition of Wrye’s commitments to, and creative accomplishments in, the visual arts, – as very well evidenced by this monumental archival production of this “a Wrye life.” – powerfully consuming much of Wrye’s hyperbolic-creative energy,for lo, these many exalting years, and has been one of the strongest of pillars in his explicit strategy for the survival of his fragile private viable sanity in this, this totally, philosophically absurd, so-called, imagined universe.” 

These revelations may indeed supply the motivation for the whole “arts in Louisville” project.

ARTS IN LOUISVILLE MAGAZINE INTRODUCTION – FACTSHEET

There were some sixty thousand copies of the magazines printed and spread throughout the community and other places about the globe. There were printed twenty-one issues, in editions of some two thousand each, of this arts in Louisville magazine under the name of “arts in Louisville,” and nine issued under its new, more chauvinistic name “the Louisvillian,” for a grand total of thirty individual masterworks. The numbers get out of hand when the number of printed pages is factored in, including the covers – thirty-six times thirty, times two thousand equals two million seven hundred thousand printed pages. – 36 x 30 x 2500 = 2,700,000. This reckoning furnished for the benefit of those who have not a calculator at hand. 

There were eighty contributors of articles who are honored upon this page with maybe less than a bronze plaque, but honored nevertheless, as they so grossly deserve. Together they typed out some two hundred and thirty-seven inspired statements relevant to their specific fields of obsession and expertise. Louisvillians in their gratitude should and ought be forever grateful for their major contribution to the heightening of awareness in the arts and for the boost that that stimulus stimulated in creating out of the abject poverty of the arts of and at that time, the foundations of the very foundations of the tremendous joyous activity experienced today in the arts in Louisville some forty years and more later.

ARTS IN LOUISVILLE MAGAZINE – INTRODUCTION TO INDEX 

Wrye wrealized one-grey day that the major printing opus of his youth -the ·arts in Louisville printing adventure-‘— lacked on· feature that all great magazines seem to incur over the years – an all-inclusive index of their publishing achievements. Wrye had put together thirty magnificent publishing achievements but the indexing of them had been sadly neglected after the discontinuance of their publishing. 

With the advent of the apple computer and the marvels of the spreadsheet application, combined with a scanner operating with optical character recognition software, [ocr], the possibility for indexing the past triumphs became a potential potentiality. 

Each individual magazine originally was indexed on or about page three for its explicit contents in that particular issue that month. Scanning this page’s index material into the computer and arranging the material in columnar divisions such as date of publication, category of subject, name of author, title of article, permitted of setting up the entire literary effort so that it would be instantly accessible to an interested scholar on but three six column pages.

It was so done.

The three pages are included herewithin not so much for scholarly research, but as a demonstration of the range and depth plombed by those writers of tracts upon the arts forty years back. There are bound volumes of the magazines collected in various libraries here and there that may be available in some cities lest there be any one so scholarly afflicted to investigate.

 

ARTS IN LOUISVILLE MAGAZINE – ARTICLE INDEX – 1955-1958

1955 NO, 01 OCTOBER
Profile	Unknown	Moritz Bomhard
Music	Sidney harth	Music
Books	Morton joyes	The paper·back revolution
Theatre	C. Douglas Ramey	Theatre
Art	Leo Wrye	Color
Little theatre	Betty Bennett	Little theatre
Theatre	Betty Bennett	The Louisville children’s
1955 no. 02 November
Music	Sidney harth	The recording menace
Cinema	Nancy smith marshall	Color’s coming of age
Dance	William habich	The moderns
Townscape	Grady clay	No more Chinese walls in Louisville
Art	Leo Wrye	What does the artist
Theatre	C. Douglas Ramey	A sense of responsibility
Books	Morton joyes	No [white?] Man’s land
Profile	Ed sauter, jr	Eugene leake
1955 no. 03 December
Cinema	Nancy smith marshall	The gift of Guinness
Report	Betty Bennett	Glass
Profile	Ed sauter. Jr	Clarence R.Graham
Ideas	Lou block	Art/ rfd / Kentucky
Art	Leo Wrye	Aristotelians and goat fanciers
Music	Sidney harth	Is jazz an art foam ?
1956 no. 04 January
Art	Betty Bennett	Art center annual awards
Music	Maurice laney	Is jazz an art foam? A reply
Theatre	C. Douglas Ramey	Actor in search of an audience
Theatre	Gilbert s. Ohlmann	The confidential clerk
Cinema	Nancy smith Marshall	What price terror
Architecture	Art tafel	Scope
Townscape	Grady clay	Shopping centers: our new asphalt jungles
Art	Edward w, Runnells	What is it supposed to be
Dialogue	Joseph Fitzpatrick	The ‘original’ sin
Profile	Ed sauter. Jr	John r. Poteat
Dance	William habich	Madame choura
1956 no. 05 February
Townscape	Grady clay	Another landmark bites the dust
Report	Betty Bennett	The Louisville fund
Art	Leo Wrye	Eyeless in Gaza
Profile	Marie Zimmerman	Robert Whitney
Theatre	C. Douglas Ramey	Casting the play
Poetry	Harvey Curtis Webster	American poetry 1 955
Music	Peter Joan korn	On hearing too much modern music
Cinema	Nancy smith Marshall	The French can more than can-can

 

1956 no. 06 march
Editorial	Joseph Fitzpatrick	Museums in Kentucky
Report	Betty Bennett	The speed museum
Townscape	Grady clay	Sculpture gets out of hand
Art	Leo Wrye	The real world of the abstract painter
Dance	William habich	The ballet theatre
Cinema	Nancy smith Marshall	The British are a careful lot·sez Alice
Music	Sidney harth	The rise and fall of the purist empire
Theatre	Bill Bauman	A playgoer’s lament
19!56 no, 07 April
Music	Sidney harth	Teaching: taste. Trial. And truth
Spectator	.W. S. Bowmer	Whirl is king
Spectator	Bud rovit	King of infinite space
Theatre	C. Douglas Ramey	Let’s overshadow Shakespeare
Profile	Marie Zimmerman	Edgard pillet
Profile	Edward Barret	Yehudi Menuhin
Photography	Robert Doherty	What makes a picture c
Townscape	Grady clay	What happened at high gate
Television	Tom Grayson	Sweets from the magic box m
1956 no, May
Townscape	Grady clay	Two cars in every showcase
Dance	William habich	Mia slavenska
Music	Gerhard herz	In defense of the purist
Architecture	Robert Nolan	T-!ow did he get that way
Art	Harvey Harris	Spring
Art	Leo Wrye	On the convenience of freedom
Cinema	Nancy smith Marshall	A movie is to see
Youth	Frances Johnston	Why Johnny can’t draw
1956 no. 09 June
Music	Sidney harth	Prospectus aetrospectus
Report	Betty Bennett	The herz home
Architecture	Norman sweet	The red brick strait jacket
Books	Bud rovit	The outlying spaces
Dance	William habich	Knew what he wanted
Townscape	Grady clay	The new turnpike: bane da blessing
Art	Mary spencer nay	The sentinels: lithograph
Cinema	Nancy smith marshall	Dressed to kill
1956 no. 10 September
Report	Betty Bennett	Summer arts festival
Spectator	John t. Dwyer	It’s zilch-but is it zaleph ?
Spectator	Robert Doherty	The eye and the highway
Art	Ulfert wilke	Notes from the artist’s diary
Townscape	Grady clay	Fairgrounds: merely colossal
Dance	Maurice Robertson	What, after all. Is ballet?

 

1956 no, 11 October
Cinema	Nancy smith Marshall	Where are the yaks of yesteryear?
Art	leo Wrye	empathy: abstract and symbolic
Report	Betty Bennett	Twin cities
Dance	William habich	Terpsichoreology
FM radio	Josephine Johnson	World’s finest public kulture
Townscape	Grady clay	Louisville’s front odor: a mess
Spectator	Jesse dukeminier	Our cities: beauty or bust
Music	Bill Montgomery	A musician hunts hobgoblins
Theatre	C. Douglas Ramey	The dramatic imagination
19156 no.12 November
Spectator	Fanny Brandeis	Why vote for the Mallon plan?
Townscape	Grady clay	What to do with our next $100,000,000
Cinema	Nancy smith Marshall	It is the code · my soul
Report	Betty bennett	The fine art of politics
Art	Leo Wrye	A mural for U.S. so 14
Photography	Robert Doherty	What makes a picture 7
Design	Jettison brace	Is your wife dressing you?
Theatre	C. Douglas Ramey	Suit the action to the word
Literature	Bud Rovit	Three kingdoms
1956 no. 13 December
Spectator	Richard m kain
Editorial	Joseph fitzpatrick
Cinema	Micheline and Eugene lees	Bullfight
Dance	William habich	Ballet on film
Townscape	Grady clay	How to invent a slum
Television	Joseph Fitzpatrick	Beanstalk the giant killer
Art	Leo Wrye	The line with a twist: Clifford amyx
Music	Abraham a. Moles	Musigiue concrete
Music	Sidney harth	A reply: the muse is missing
Profile	Bud rovit	Jonas Mayberry
1957 no. 14 January
Editorial	Bud rovit	Exhuming a corpse
Townscape	Grady clay	A new “center” theory
Art education	Harold Thurman	The new art education
Cinema	Nancy smith Marshall	Oh, movies. Wher- is thy sting?
Aesthetics	John t. Dwyer	An approach to aesthetics
Dance	William habich	Background on American ballet
1957 no 15 February
Report	Marie Zimmerman	Rental gallery
Dance	William hablch	U’l abner a day of music
Television	John t. Dwyer	A day of music
Cinema	Nancy smith Marshall	Foreign films find friends
Art	Ulfert wilke	Music to be seen
Literature	W. S. Bowmer	The premises of taste

 

Townscape	Grady clay	Graveyards: where?
Spectator	Samuel e. Hyman	Little theatre defended
Theatre	Emil m. Aun	Hedda gabler
1957 no. 18 march
Editorial	Joseph Fitzpatrick	Lust for dream-life
Townscape	Grady clay	Urban landscape: denatured
Cinema	Nancy smith Marshall	Art-form or bust
Music	Sidney harth	A caution for critics and composers
Art	John Tagliabue	Rufino Tamayo
Spectator	Bud rovit	A Louisville community theatre
Literature	St. john Dennis	The objectivist movement
Dance	William habich	Ballet on records
Books	Alleman and Fitzpatrick	Paintings of Leonardo da Vinci
Television	John t. Dwyer	La Grande breteche
1957 no 17 April
Art	Richard pope	Steamboat gothic
Theatre	C. Douglas Ramey	Our vanishing history
Townscape	Grady clay	Feeling and technique in acting
Music	John Dwyer	On meaning in music
Art	Leo Wrye	Draw me
Literature	W. F axton	Two minor waiters
Dance	William habich	Invitation to the dance
1957 no. 18 may
Poetry	Bud rovit	The wink of eternity
Dance	William habich	Ted Shawn
Art	Richard pope	Steamboats
Townscape	Grady clay	The alley-rat approach
Art	John t. Dwyer	artists and attitude?
Cinema	Nancy smith Marshall	Smashing selected short subjects
Books	Gilbert ohlmann	The strange islands
Design	George knoop	No place for amateur
1957 no. 20 June
Music	Sidney harth	Prades. Puerto rico. Schneider. Casals
Spectator	Norris merchant	Money, memory, and the quiz programs
Spectator	Hal wright	The art in art
Photography	Barney cowherd	Photographs
Townscape	Grady clay	Courthouse square
Art	Robert motherwell	Black or white
Art	Earl hendler	Histoire d’un peintre
Poetry	St. John Dennis	Letter from a distant land
Cinema	Nancy smith Marshall	The Hemingway renaissance
Theatre	C. Douglas Ramey	Little theatre U.S.A
Books	Bud rovit	Big sur and the outsider
Books	Ruth lerman	The sandcastle
Spectator	John t. Dwyer	The artiest of the arts

 

1957 no 21 September
Townscape	Grady clay	Urban cosmetics
Art	Sally hazelet	World of silent painting
Mindscape	Buo Rovit	One can smile and smile
Spectator	Alan levy	Judith the obscure
Theatre	John t. Dwyer	Godot
Spectator	Alexis de Tocqueville	European critic lashes U.S.
Dance	William habich	balletomanes & balletomaniacs
1957 no 22 October
Report	Wal tea creese	Quiet fighting in the streets
Louisville	William habich	Oscar wilde in Louisville
Mindscape	Bud Rovit	Our vanishing adults
Literature	John Dwyer	By love possessed
Music	William habich	From voodoo to minuet-through calypso
Books	Edward Hewett	The expressionists
Books	Led Wrye	The world of abstract art
Books	John Dwyer	New directions 1 b
Music	Sidney harth	America’s motley music magazines
Townscape	Grady clay	Springsavers” needed
Art	Robert Wrege	Bottles have fuzzy edges
1957 no 23 November
Report	Leo wrye	Arts in Louisville house
Spectator	Charles angoff	Faces, voices. & silence
Report	Mike Barry	October wail
Cinema	Robert breer	Images in motion
Dance	william habich	Daniel nagrin
Books	John Dwyer	Aficionados, at it again
Books	Edmund naughton	Draftees confidential guide
Report	Anonymous	the candidates
Mindscape	Bud rovit	The pharoahs’ flag
Townscape	Grady clay	Big zeck
1957 no 24 December
Report	Grand opening	Arts in louisville house
Television	John t. Dwyer	Obnoxious enough
Mindscape	Bud rovit	Horror which the heart exudes
Art	Edward warder Runnells	Our changing visual environment
Architecture	John osman	Citizens make cities
Dance	William habich	The nutcracker
Townscape	Grady clay	Fighting gravity: the Pittsburgh story
1958 no.25 january
Townscape	Grady clay	Tomorrows space
Education	Charles angoff	How to improve college education
Music tv	John t. Dwyer	Poulenc’s “carmeutp opera plops
Feature	Franklyn MacAfee	L’affaiae sputnik
Photography	Lou block	Marian klein
Mindscape	Bud rovit	A fife. A daum, and a parakeet

 

Books	John t, Dwyer	Young writer hung on Jung
Dialogue	Oscar wilde	Art and nature
Dance	William habich	Ballet miniatures
1958 no 26 February
Literature	St. John Dennis	The little magazine
Theatre	Neander	Little theatre & ah! Wilderness road
Townscape	Grady clay	Bluegrass blues
Photography	Lou block	Edward Weston 1888-1958
Mindscape	Bud rovit	Win. Place, and show
Profile	Betty Lou amster	Sidney harth
Books	Edward Hewett	Karl knaths
Dance	William habich	National ballet of Canada
Spectator	Richard and Corinne lee	Automobiles. Vacuum cleaners
1958 no. 27 march
Editorial	Joseph Fitzpatrick	Criticism and the press
Music TV	John t. Dwyer	T. V. Rigoletto
Literature	St. John Dennis	The little magazine
Mindscape	Bud rovit	Ave atgue
Townscape	Grady clay	Downtown uglification, inc.
Theatre	Patrick kelvin	Back to methuselah
Books	Daniel boles	Sculpture
Books	Robert French	Jazz
Design	Czardin	Fashions for men
Dance	William habich	Antal Dorati and the ballet
1958 no. 26 April
Editorial	Franklyn MacAfee	The effete east
Mindscape	Bud rovit	All that glottis is not gold
Art	Edward warder rannell	The imaginary worlds
Dance	William habich	The Louisville ballet company
Photography	Lou block	The baroness
Townscape	Grady clay	Gouge, chop, and rut
1958 no 29 may
Theatre	Staff	Arts in Louisville theatre
Poetry	Interview whas radio	Stephen spender
Spectator	Jean howerton	Commencement speakers retreat!
Dance	William habich	Choura. The winner!
Report	Lou block	Mob on 28th street
Townscape	Grady clay	The row house dilemma
Art	George rickey	Abstract art in Rome
1958 no 30 June
Mindscape	Bud rovit	AM-FM-AD nauseum
Spectator	William Blackwell	Adventure in planning
Dance	William habich	The Bolshoi ballet on film
Townscape	Grady clay	Plumes. Jets. And squirts
Spectator	John t Dwyer	What to do about advertising
Art	Ulfert wilke	Letter from japan

 

ARTS IN LOUISVILLE MAGAZINE – TYPOGRAPHY

EGYPTIAN EXPANDED 

WIDE LATIN

 

Proudly displayed by the names by which they were known way back in 1955 are here the foundry-type display-faces that Wrye painstakingly assembled from all over the planet for arts in Louisville magazine’s article titles and advertising displays and which are cursorily and ever so briefly mentioned upon next the following page amidst other fascinating revelations.

 

ARTS IN LOUISVILLE MAGAZINE – THE PRINTING PROCESS

Proudly displayed, on the previous page, meager 

As it well may be called, is a sampling of the carefully selected collection of exotic and beautiful foundry type-faces from which Leo Wrye selected from his typecases, letter by letter, and set by hand – the titles and display material for the arts in Louisville magazine. Also shown here on this page is a scanned swatch of the body-type which was pounded out and cast as one-line slugs from the keyboard of his ancient but trusty merganthaler bluestreak linotype machine. This composed type material Wrye then spaced and leaded, before locking it, by quoining with the quoins, in the steel type-chase of the American typefounder’s great “little giant’ flat-bed cylinder press. The unlocked typemetal would then be made level by hammering with a rawhide mallet upon a hardwood block with a hard leather surface moved about upon the type’s face as it lay there, looking up, defenseless, in the chase awaiting its ink. Reproduction proofs were carefully pulled (printed) on a very high-gloss heat-seal whiskey-bottle-label paperstock. These proofs were then cut into sections, as required, for pasting as columns of text, headlines, advertisements, and such. A heat-sealing pistol-grip gun bonded the proofed clips to a standardized four-page magazine layout template sheet affixed upon a fluorescently lighted ground plate glass light-table, (complete with the stainless steel T-square), which was rigged with numerous format template-lines for locating margins, and such, for accurate and consistent page make-up. These final paste-ups were then hot-rodded td the photographers on Floyd street at around about five a.m. for the making of the 17 1/2 x 22 1/2” photographic negatives for the making of aluminum offset printing plates upon the camera at pilgrim press, from which to print 2500 copies of the arts in Louisville magazine on an offset press, which had been made in Sweden, way up on crescent hill, about once a month.

Most meagerly meager, in the comparison to the fifty years later cornicdpian accessibility to the digitally-equipped type-compositor the thousands of digital typefaces which require no type cases, take up only cyberspace, are specifiable in any size and any minute decimal fraction of that specified size, in every conceivable and modifiable style. They print perfectly, beautifully. The supply of characters is limitless, and, as is the case with typemetal fonts, they need not be cleaned and carefully re-cased after each use letter by letter, as in the past, by some justifiably bedeviled printer’s devil.

B PT. Metro light, linoype sample of magazine text

By the names by which they would have been known to thee, way back in fifty-five, are here proudly displayed the foundry-type display faces that Wrye painstakingly assembled from all over the planet for the printing of arts in Louisville magazine. They are now readily recognizable in digital form among the many thousands of others. – the myriad descendants of their original typemetal ilk.

The primitive but effective California job case from which the foundry type. Illustrated at left, was plucked, and back into which it was sorted, after having been set, printed, and scrubbed clean, again.

ARTS IN LOUISVILLE MAGAZINE COVERS

Leo Wrye designed almost every one of the arts in Louisville magazine covers as he was the director of the publication department and he commissioned Wrye hisself to design the covers and who was to gainsay Wrye? 

The selected covers shown here are but only miniture hints of the glorious printed color covers which were printed from two and often three color lithographic plates. The covers were usually designed after the very last moment by Wrye as he worked all through the night into the early morning hours doing the final paste-ups of the final proofed copies as the page paste-ups for photographic plate-makers out on Floyd street who opened shop at five a.m. he told himself that by waiting until after the last moment he was thereby forcing himself into desperate straits of exquisite spontaneity which was otherwise almost unattainable when time was not of the essence. – may god be his judge! 

In the fall of 1957 the editor and some people thought that the magazine ought to appeal and reach a slightly broader audience than just those dedicated art aficionados. The idea was a scheming sneaky one to sneak art through the portcullis of unsuspecting babbittry – take unsuspecting babbitt by the throat and stuff art down that throat when babbitt was least suspecting. Hence “the Louisvillian,” the new magazine name to bait the unsuspecting broader audience. 

Wrye did feel that the name “the Louisvillian” did look nice in 36-point wide Latin bold extended type, though.

 

The original bunch of magazines were formatted as plain-Jane b 1 /2″ x 1 1″ standard letter size portrait configuration for all kinds of technical and economic reasons. Naturally a wry Wrye reacted and as soon as no one was looking switched to landscape. Showing-off above are some of the more amusing historic portrait formats. The following pages are all in the landscape shape. Not all covers are reproduced for technical reasons.

THE EDITORIAL STAFF – ARTS IN LOUISVILLE MAGAZINE

Marie graves Doug Ramey Morton joys Sidney harth betty Bennett Leo Wrye ruthe Jacobson joe Fitzpatrick

THE GAZETTE

VOLUME THREE BOOK TWO CHAPTER TWO 

THE ARTS IN LOUISVILLE MAGAZINE ARTICLES OF LEO WRYE – INTRODUCTION TO BOOK THREE CHAPTER THREE 

Leo Wrye fashioned ten splendid art articles for arts in Louisville magazine while he was director of publication for the magazine as well as parallelly being the fine arts editor during 1855,1858,1857 and the first half of 1858 when the magazine was retired from circulation, so it is easily well understood the ease of facilitation available to Wrye in having his work accepted for publication by the otherwise highly selective arts in Louisville magazine editorial staff. There are twenty-one splendidly illustrated pages reconstructed from the original arts of Louisville magazine.

It is altogether fitting and proper that an index of the ten splendid articles written by Wrye be fitted in properly in the immediately following space on this introduction page as an index to the articles and their dates of publication.

INDEX

WREY ARTICLES

Page 01	The “real” world of the abstract painter March 1956
Page 02	Calipers, calendars, smudgepots February 1956
Page 03	Draw ME April 1956
Page 04	Empathy October 1956
Page 05	What does the artist? November 1955
Page 06	The museum is not a mere treasure house may 1956
Page 07	ARISTOTELIANS AND GOAT FANCIERS decenter 1955
Page 08	The world of abstract art October 1957
Page 09	A mural for U. S. Sixty November 1 956
Page 10	Sulphurous oaths, hammer clatter, and the great white arts in Louisville house November 1857
	This article pre  appears as introduction pages to the arts in Louisville house itself in volume three. Book two. Chapter five.

THE GAZETTE EDITORIALS OF LEO WRYE-INTRODUCTION TO BOOK THREE CHAPTER FOUR

• Art
• Ikons