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Art and artists in martial-law Manila

It was November 1972. Martial law had been inflicted upon the land, following the fake ambush of Defense Secretary Juan Ponce Enrile. My magazine the Graphic had been padlocked, along with the rest of the magazines and newspapers, except for the crony paper Daily Express. I was out of a job, like many in media.

A few months later, while trying to earn a living translating lachrymose Spanish-language comics into Tagalog, courtesy of Morita Roces, I learned that Purita Kalaw Ledesma, the founder of the Art Association of the Philippines (AAP), had been looking high and low for me. It turned out that Mrs. Ledesma needed, not a critic (who would just quarrel with her), but a collaborating writer who, as she pointed out good-naturedly, knew “next to nothing about art.” The task was to write a history of the AAP.

That was my introduction to the world of Philippine

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31 artists in mix to cast D.C. statues of Daisy Gatson Bates, Johnny Cash

Fifteen sculptors submitted qualifications to the secretary of state’s office to design and cast a statue of Little Rock Nine mentor Daisy Gatson Bates, and 16 sculptors submitted qualifications to do that work on a statue of musician Johnny Cash.

The two statues will eventually be placed in National Statuary Hall in the U.S. Capitol to represent Arkansas.

The requests for qualifications were sent to 31 interested parties and prospective sculptors on Sept. 4, according to Republican Secretary of State John Thurston’s office.

The deadline for prospective sculptors to submit their qualifications to Thurston’s office was Monday at 4 p.m.

The selection committee for the sculptors consists of the National Statuary Hall steering committee and the Capital Arts and Grounds Commission, said Kurt Naumann, director of administration for the secretary of state. That steering committee is an advisory group chaired by Arkansas State University System Vice President for University Relations

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