#Dorothy Dix

[vintage-every-day]

Dorothy Dix in Halloween costumes, ca. 1928

[friendlessghoul]

Buster Keaton and Dorothy Dix The Gold Ghost - 1934

[precodesoul]

Dorothy Dix photographed by Charles Bulloch, c. early 1930s

[gatutor]

Dorothy Dix (Peoria, Illinois, 7/07/1910-Los Angeles, California, 15/06/2006).

[thepastisalreadywritten]

NEW YORK (AP) — Leap year. It’s a delight for the calendar and math nerds among us.

So how did it all begin and why?

Have a look at some of the numbers, history and lore behind the (not quite) every four year phenom that adds a 29th day to February.

BY THE NUMBERS

The math is mind-boggling in a layperson sort of way and down to fractions of days and minutes.

There’s even a leap second occasionally, but there’s no hullabaloo when that happens.

The thing to know is that leap year exists, in large part, to keep the months in sync with annual events, including equinoxes and solstices, according to the Jet Propulsion Laboratory at the California Institute of Technology.

It’s a correction to counter the fact that Earth’s orbit isn’t precisely 365 days a year.

The trip takes about six hours longer than that, NASA says.

Contrary to what some might believe, however, not every four years is a leaper.

Adding a leap day every four years would make the calendar longer by more than 44 minutes, according to the National Air & Space Museum.

Later, on a calendar yet to come (we’ll get to it), it was decreed that years divisible by 100 not follow the four-year leap day rule unless they are also divisible by 400, the JPL notes.

In the past 500 years, there was no leap day in 1700, 1800 and 1900, but 2000 had one.

In the next 500 years, if the practice is followed, there will be no leap day in 2100, 2200, 2300 and 2500.

The next leap years are 2028, 2032, and 2036.

WHAT WOULD HAPPEN WITHOUT A LEAP DAY?

Eventually, nothing good in terms of when major events fall, when farmers plant and how seasons align with the sun and the moon.

“Without the leap years, after a few hundred years we will have summer in November,” said Younas Khan, a physics instructor at the University of Alabama at Birmingham.

“Christmas will be in summer. There will be no snow. There will be no feeling of Christmas.”

WHO CAME UP WITH LEAP YEAR?

The short answer: It evolved.

Ancient civilizations used the cosmos to plan their lives, and there are calendars dating back to the Bronze Age.

They were based on either the phases of the moon or the sun, as various calendars are today. Usually they were “lunisolar,” using both.

Now hop on over to the Roman Empire and Julius Caesar.

He was dealing with major seasonal drift on calendars used in his neck of the woods. They dealt badly with drift by adding months.

He was also navigating a vast array of calendars starting in a vast array of ways in the vast Roman Empire.

He introduced his Julian calendar in 46 BCE.

It was purely solar and counted a year at 365.25 days, so once every four years an extra day was added.

Before that, the Romans counted a year at 355 days, at least for a time.

But still, under Julius, there was drift. There were too many leap years.

"The solar year isn’t precisely 365.25 days. It’s 365.242 days," said Nick Eakes, an astronomy educator at the Morehead Planetarium and Science Center at the University of North Carolina in Chapel Hill.

Thomas Palaima, a classics professor at the University of Texas at Austin, said adding periods of time to a year to reflect variations in the lunar and solar cycles was done by the ancients.

The Athenian calendar, he said, was used in the fourth, fifth and sixth centuries with 12 lunar months.

That didn’t work for seasonal religious rites. The drift problem led to “intercalating” an extra month periodically to realign with lunar and solar cycles, Palaima said.

The Julian calendar was 0.0078 days (11 minutes and 14 seconds) longer than the tropical year, so errors in timekeeping still gradually accumulated, according to NASA. But stability increased, Palaima said.

The Julian calendar was the model used by the Western world for hundreds of years.

Enter Pope Gregory XIII, who calibrated further. His Gregorian calendar took effect in the late 16th century.

It remains in use today and, clearly, isn’t perfect or there would be no need for leap year. But it was a big improvement, reducing drift to mere seconds.

Why did he step in? Well, Easter.

It was coming later in the year over time, and he fretted that events related to Easter like the Pentecost might bump up against pagan festivals.

The pope wanted Easter to remain in the spring.

He eliminated some extra days accumulated on the Julian calendar and tweaked the rules on leap day.

It’s Pope Gregory and his advisers who came up with the really gnarly math on when there should or shouldn’t be a leap year.

“If the solar year was a perfect 365.25 then we wouldn’t have to worry about the tricky math involved,” Eakes said.

WHAT’S THE DEAL WITH LEAP YEAR AND MARRIAGE?

Bizarrely, leap day comes with lore about women popping the marriage question to men.

It was mostly benign fun, but it came with a bite that reinforced gender roles.

There’s distant European folklore.

"One story places the idea of women proposing in fifth-century Ireland, with St. Bridget appealing to St. Patrick to offer women the chance to ask men to marry them," according to historian Katherine Parkin in a 2012 paper in the Journal of Family History.

Nobody really knows where it all began.

In 1904, syndicated columnist Elizabeth Meriwether Gilmer, aka Dorothy Dix, summed up the tradition this way:

“Of course people will say ... that a woman’s leap year prerogative, like most of her liberties, is merely a glittering mockery.”

The pre-Sadie Hawkins tradition, however serious or tongue-in-cheek, could have empowered women but merely perpetuated stereotypes.

The proposals were to happen via postcard, but many such cards turned the tables and poked fun at women instead.

Advertising perpetuated the leap year marriage game. A 1916 ad by the American Industrial Bank and Trust Co. read thusly:

“This being Leap Year day, we suggest to every girl that she propose to her father to open a savings account in her name in our own bank.”

There was no breath of independence for women due to leap day.

SHOULD WE PITY THE LEAPLINGS?

Being born in a leap year on a leap day certainly is a talking point. But it can be kind of a pain from a paperwork perspective.

Some governments and others requiring forms to be filled out and birthdays to be stated stepped in to declare what date was used by leaplings for such things as drivers licenses, whether February 28 or March 1.

Technology has made it far easier for leap babies to jot down their February 29 milestones, though there can be glitches in terms of health systems, insurance policies, and with other businesses and organization that don’t have that date built in.

There are about 5 million people worldwide who share the leap birthday out of about 8 billion people on the planet.

Shelley Dean, 23, in Seattle, Washington, chooses a rosy attitude about being a leapling.

Growing up, she had normal birthday parties each year, but an extra special one when leap years rolled around.

Since, as an adult, she marks that non-leap period between February 28 and March 1 with a low-key “whew.”

This year is different.

“It will be the first birthday that I’m going to celebrate with my family in eight years, which is super exciting, because the last leap day I was on the other side of the country in New York for college,” she said. “It’s a very big year.”

[if-you-fan-a-fire]

“A DATELESS GIRL,” Vancouver Sun. February 22, 1933. Page 16. ----- Cruel and Inhuman Punishment ---- By Dorothy Dix ---

Dear Miss Dix, 

I am one of those dateless girls and am so resigned the situation that I wouldn't bother about it if it wasn't for my family. They have insisted upon my becoming a society debutante at much I am an utter misfit. I hate the social whirl. I don't speak the language of the girls whom I am thrown with and I can't enter into their conversation. I haven t the money to buy their interest by giving splendid entertainments. I wasn't cut cut to be the life of the party, yet I am expected to keep up a gay, witty and entertaining conversation to amuse the man with whom I happen to be. Partners don't ask me to dance with them and when I rebel against all this my family say that I am silly and what a fine wholesome girl I am and, of course, people like me and admire me. What am I to do? 

E.T.

Answer: I don't think there Is any more pathetic figure than the girl whose family try to force her into being a butterfly when she has none of the attributes of the butterfly and never feels at home in the rarefied atmosphere in which they thrust her. 

Perhaps mother was a belle in her day and she looks forward to living ver her triumphs in poor little plain Mary Ann, who is shy and retiring with never a word to say for herself and who has no more sex appeal than plate of oatmeal. Or perhaps mother is socially ambitious and depends on Mary Ann opening doors that are closed to her.

So she buys Mary Ann all sorts of pretty fluffy clothes that never for an instant disguise her Mary-Ann-ness. And she makes Mary Ann go to every party to which she is invited, where she sits around on the sidelines suffering agonies of embarrassment and mortification because nobody ever dances with her except the unwilling youths whom a hostess drags up to her wearing ! the expressions of lambs being led to the slaughter. 

And Mary Ann is a social flop and another reproaches her with it and wonders why the boys never pay her any attention and why she doesn't get married. 

It is a cruel and inhuman punishment for any woman to force her daughter to go "out in society," as the phrase goes, unless she wants to. Moreover, it is of no use, because unless the Lord gave a girl dancing feet no man is going to cut in on her, and unless Nature supplied her with IT she can't manufacture it for herself. 

Far wiser and kinder to let the girl find her own niche in the world. Let her go with the people who are congenial to her. Let her do the things she wants to do. 

My advice to any girl who finds herself a misfit in society is to go to work. Get a job. Interest herself in that, and for her comfort and also for mother's consolation - let her remember that a lot of the biggest fish swim around in business offices and rise to the bait of an intelligent ,quiet girl after they have fought shy of a dazzling, painted, vivacious one.

[ufo9]

Confession is always weakness. The grave soul keeps its own secrets, and takes its own punishment in silence.

- Dorothy Dix

[from1837to1945]

"What? What's the matter, dear?" "You're not gonna sent me to bed?" "Bed? Sent you to bed? For what? Spill a little water? Oh, what would we care about that? We intend to do it. We gonna spill water and do every silly thing we can think of. Because that's the only way you and I could be happy."

-Richard Dix & Edith Fellows in His Greatest Gamble (1934)

[kayflapper]

Dorothy Dix, c. 1930s.

[tournevole]

Je hais les Maris Ils me bouchent la vue. Il y a les Bricoleurs, Ces Types-Pour-Lesquels-l’Idée-de-Mariage-A-Eté-Conçue ! S’il ne tenait qu’à eux, Les petits artisans qui survivent en banlieue auraient fermé depuis longtemps. Donnez-leur un marteau et une poignée de clous Et vous n’aurez plus à vous inquiéter du lieu où ils passent leurs soirées. Il se trouve hélas que leur travail s’immisce horriblement dans leur vie nocturne : A la première occasion, ils sautent du lit et s’en retournent vers leur vrai nid d’amour Pour se remettre à leur affaire. Ils ont toujours un grand projet en tête : Si ce n’est pas tailler la haie, C’est installer une nouvelle étagère pour les confitures. S’ils vous attirent dans un coin, C’est pour vous expliquer la dernière, la meilleure : L’économie qu’ils viennent de faire en coupant eux-mêmes le petit bois ! On les confond rarement avec Rudolph Valentino Et les flics ne sont jamais intervenus pour repousser la horde de leurs admiratrices. (…) Et il y a les Vrais-Mecs, Ceux qui sont maîtres chez eux. L’égalité des sexes est une information Qui n’est pas encore parvenue à leurs oreilles. A leurs yeux la femme parfaite Est celle qui recoud les boutons avant même qu’ils soient décousus. Ils n’auraient pas un regard pour Hélène de Troie Si on leur laissait entendre que la dame rechignait à repriser les chaussettes. Ils sont l’âme de la maisonnée : Si les œufs ont cuit dix secondes de trop, Ils n’ouvrent pas la bouche pendant un mois, Si la femme de ménage a trois minutes de retard, Elle doit faire valoir une lettre du pasteur. Dorothy Parker

[martiko]

Confession is always weakness. The grave soul keeps its own secrets, and takes its own punishment in silence.

Dorothy Dix

[in-sempiternam]

𝕮𝖔𝖓𝖋𝖊𝖘𝖘𝖎𝖔𝖓 𝖎𝖘 𝖆𝖑𝖜𝖆𝖞𝖘 𝖜𝖊𝖆𝖐𝖓𝖊𝖘𝖘. 𝕿𝖍𝖊 𝖌𝖗𝖆𝖛𝖊 𝖘𝖔𝖚𝖑 𝖐𝖊𝖊𝖕𝖘 𝖎𝖙𝖘 𝖔𝖜𝖓 𝖘𝖊𝖈𝖗𝖊𝖙𝖘, 𝖆𝖓𝖉 𝖙𝖆𝖐𝖊𝖘 𝖎𝖙𝖘 𝖔𝖜𝖓 𝖕𝖚𝖓𝖎𝖘𝖍𝖒𝖊𝖓𝖙 𝖎𝖓 𝖘𝖎𝖑𝖊𝖓𝖈𝖊. ~ Dorothy Dix

[warblingandwriting]

When I first saw In A Lonely Place there was a scene that made me say “this was written by a woman”:

Well, I was half right. While the screenplay was written by Hollywood men Andrew P. Solt and Edmund H. North, the novel of the same name that it was based on was written by Dorothy B Hughes, a little-known noir novelist from the 1940s. The changes from book to film, though, are fascinating, and indicative of the different sensibilities we see from these writers. I will say there are major spoilers ahead and recommend that you at least see the film, if not read the book. They’re both short, and I think truly fascinating pieces of media that I highly recommend.

Out of context that scene may seem like a dismissal of Stella’s fears, a sort of refuting of what she’s worried about. However, in the scene before that Dix is describing, in detail, how he thinks the murderer might have killed another young woman, and uses the couple, Brub (yes, really) and Sylvia, as his body doubles. Brub (Sylvia’s husband) begins to strangle her as Dix describes the murderer doing so. Dix and Brub seem to revel in the pantomime, and Sylvia has to scream to snap them out of it. Their display makes Sylvia’s accusations here feel very real, and makes Brub’s dismissal feel even more sinister.

Now, to get the massive spoiler out of the way, the man that Sylvia there is worried about is Dixon Steele (his real name in both the book and movie... I know), and in the film, it turns out that in spite of throwing his ex-girlfriend down a flight of stairs and nearly strangling his current one, Dix is not the murderer they’re looking for. Violent? Dangerous? Well, only if you don’t treat him right. In the book though, it’s not even a twist. The first page of the book is Dix stalking a woman, and the only reason he doesn’t succeed in killing her is that she makes it to her house before he can catch up with her.

However these characters Brub and Sylvia don’t know that in either version, and neither does Laurel, his girlfriend. The film then, is a mystery: did Dix do it? While the book is more of a Patricia Highsmith-esque thriller: When will they catch him? And indeed a similar scene takes place in the book, wherein Sylvia suspects Dix, but Brub, who is an old army buddy of his, doesn’t want to believe her. Throughout both texts Laurel becomes increasingly afraid of Dix, in the film because she suspects him of murder, but in the book it’s because he’s becoming increasingly violent and possessive.

To me, it begs the question, is Sylvia right to be suspicious, as she is here, and as she is in the book? In the book the answer is unquestionably yes, Dix is a murderer, one who they catch by setting him up to kill Sylvia, when he believes she is Laurel. In the film though, it’s more complicated. On the one hand, men happily dismiss his violent tendencies, saying that it’s just how he is, and even that it makes him exciting (as we see Brub do above). But we know he seriously harmed his ex, and that at the end of the film he seriously harms Laurel. Meanwhile the Dix/Laurel romance is framed as tragic in the film, with ‘suspicion’ being blamed for its downfall. As if, if Laurel had never suspected that Dix might have killed someone, then they could have been happy. On the one hand, that claim seems ridiculous with all we see of Dix, but on the other hand, the film frames it as true.

In the final scene, Dix is strangling Laurel until they’re interrupted by a phone call. At Dix’s urging, Laurel answers, and says this:

The important line of course being ‘yesterday this would have meant so much to us’. As long as Dix hadn’t actually strangled Laurel things would be fine! Even though that’s not the first time he’s shown violent tendencies, even though he was extremely possessive, it totally would have been okay if he just hadn’t strangled her. I emphasize her because we also know Dix physically abused his ex, and although it made Laurel nervous, it wasn’t enough for her to dump him.

And Sylvia in the lynch pin in all of this, the book, the film, the violence, for me. Because although she’s a relatively small character, she brings up questions of authority and knowledge. In both versions, she feels that something is wrong about Dix (and, to be fair, she’s not the only one, the Laurel of the book also feels something off about him, and the police commissioner in the film is convinced that Dix was the murderer too) but in the film she’s only half right. In the film, she is right that he’s violent, but in the way Dix and Laurel’s romance is depicted, as this tragic romance ruined by suspicion, there is a pretty clear through line that Laurel could have fixed him, if only she believed in his innocence. Therefore if only Sylvia, if only the police, if only everyone believed that this man, known for violent outbursts, known for abusing his girlfriends wouldn’t go as far as to kill someone, then they could have been happy together. In spite of the film's dark tone, their scenes together are truly idyllic when they're in their honeymoon phase.

And in the book, of course, its the exact opposite. If only the men around Dix believed that he could be a murderer, lives might have been saved. Fraught gender dynamics permeate most noir films, but it is interesting to see the differences that adaptational differences can make.

[gatutor]

Dorothy Dix-Ken Maynard "Drum taps" 1933, de J. P. McGowan.

[jovialtorchlight]

The story of how Dixfield, Maine was named is hysterical. In 1803, Dr. Elijah Dix promised that if the fledgling town was named after him he'd build a sick fucking library. After they agreed, he promptly fucked off to Mass. and sent like 3 outdated medical textbooks in the mail.

[arte-e-homoerotismo]

Ellsworth Kelly

Nascimento: 31 de maio de 1923, Newburgh, Nova York, EUA

Falecimento: 27 de dezembro de 2015, Spencertown, Nova York, EUA

Cônjuge: Jack Shear (de 1984 a 2015)

Prêmio: Praemium Imperiale

Pais: Florence Bithens Kelly, Allan Howe Kelly

Irmãos: David Kelly

Ellsworth Kelly (31 de maio de 1923 – 27 de dezembro de 2015) foi um pintor, escultor e gravador americano associado à pintura hard-edge , Color field painting e minimalismo . Suas obras demonstram técnicas despretensiosas enfatizando linha, cor e forma, semelhantes ao trabalho de John McLaughlin e Kenneth Noland . Kelly frequentemente empregava cores brilhantes. Ele viveu e trabalhou em Spencertown, Nova York .

Infância

[ editar ]

Kelly nasceu o segundo filho de três filhos de Allan Howe Kelly e Florence Rose Elizabeth (Githens) Kelly em Newburgh, Nova York , aproximadamente 60 milhas ao norte da cidade de Nova York. Seu pai era um executivo de uma seguradora de ascendência escocesa-irlandesa e alemã. Sua mãe era uma ex-professora de origem galesa e alemã da Pensilvânia. Sua família mudou-se de Newburgh para Oradell, Nova Jersey , uma cidade com quase 7.500 habitantes. Sua família morava perto do reservatório de Oradell , onde sua avó paterna o apresentou à ornitologia quando ele tinha oito ou nove anos.

Lá ele desenvolveu sua paixão por forma e cor. John James Audubon teve uma influência particularmente forte no trabalho de Kelly ao longo de sua carreira. O autor Eugene Goossen especulou que as pinturas de duas e três cores (como Three Panels: Red Yellow Blue, I 1963) pelas quais Kelly é tão conhecido podem ser rastreadas até sua observação de pássaros e seu estudo dos pássaros de duas e três cores que ele via com tanta frequência em uma idade precoce. Kelly disse que ele estava frequentemente sozinho quando era um menino e se tornou um tanto "solitário". Ele tinha uma leve gagueira que persistiu em sua adolescência. 

Educação

Kelly frequentou a escola pública, onde as aulas de arte enfatizavam os materiais e buscavam desenvolver a "imaginação artística". Este currículo era típico da tendência mais ampla na escolaridade que emergiu das teorias de educação progressiva promulgadas pelo Teacher's College da Universidade de Columbia , onde o pintor modernista americano Arthur Wesley Dow lecionou. Embora seus pais estivessem relutantes em apoiar o treinamento artístico de Kelly, sua professora, Dorothy Lange Opsut, o encorajou a ir mais longe. Como seus pais pagariam apenas pelo treinamento técnico, Kelly estudou primeiro no Pratt Institute no Brooklyn , que frequentou de 1941 até ser convocado para o Exército no dia de Ano Novo de 1943. 

Militares

Ao entrar no serviço militar dos EUA em 1943, Kelly solicitou ser designado para o 603º Batalhão de Camuflagem de Engenheiros, que levou muitos artistas. Ele foi introduzido em Fort Dix, Nova Jersey e enviado para Camp Hale, Colorado , onde treinou com tropas de esqui de montanha . Ele nunca havia esquiado antes. Seis a oito semanas depois, ele foi transferido para Fort Meade, Maryland . Durante a Segunda Guerra Mundial , ele serviu com outros artistas e designers no Exército Fantasma , uma unidade de engano do Exército dos Estados Unidos que usava tanques infláveis, caminhões e outros elementos de subterfúgio para enganar as forças do Eixo sobre a direção e disposição das forças Aliadas. Sua exposição à camuflagem militar durante o tempo em que serviu tornou-se parte de seu treinamento básico em arte. Kelly serviu na unidade de 1943 até o fim da fase europeia da guerra. O Exército Fantasma recebeu a Medalha de Ouro do Congresso em 21 de março de 2024, em uma cerimônia no Emancipation Hall , no Capitólio dos Estados Unidos . 

Educação pós-guerra

Kelly usou o GI Bill para estudar de 1946 a 1947 na Escola do Museu de Belas Artes de Boston , onde aproveitou as coleções do museu, e depois na École nationale supérieure des Beaux-Arts em Paris. Enquanto estava em Boston, ele expôs em sua primeira exposição coletiva na Boris Mirski Gallery e deu aulas de arte no Norfolk House Center em Roxbury . Enquanto estava em Paris, Kelly estabeleceu sua estética. Ele frequentava aulas com pouca frequência, mas mergulhou nos ricos recursos artísticos da capital francesa. Ele ouviu uma palestra de Max Beckmann sobre o artista francês Paul Cézanne em 1948 e se mudou para Paris naquele ano. Lá, ele conheceu os compatriotas americanos John Cage e Merce Cunningham , experimentando música e dança, respectivamente; o artista surrealista francês Jean Arp ; e o escultor abstrato Constantin Brâncuși , cuja simplificação das formas naturais teve um efeito duradouro sobre ele. A experiência de visitar artistas como Alberto Magnelli , Francis Picabia , Alberto Giacometti e Georges Vantongerloo em seus estúdios foi transformadora. 

Carreira

Depois de estar no exterior por seis anos, o francês de Kelly ainda era ruim e ele havia vendido apenas uma pintura. Em 1953, ele foi despejado de seu estúdio e retornou à América no ano seguinte. Ele se interessou depois de ler uma crítica de uma exposição de Ad Reinhardt , um artista cujo trabalho ele sentia que seu trabalho se relacionava. Ao retornar a Nova York, ele achou o mundo da arte "muito difícil". Embora Kelly seja agora considerado um inovador essencial e contribuidor para o movimento artístico americano, era difícil para muitos encontrar a conexão entre a arte de Kelly e as tendências estilísticas dominantes. Em maio de 1956, Kelly teve sua primeira exposição na cidade de Nova York na galeria de Betty Parsons . Sua arte era considerada mais europeia do que popular em Nova York na época. Ele expôs novamente em sua galeria no outono de 1957. Três de suas peças: Atlantic , Bar e Painting in Three Panels, foram selecionadas e exibidas na exposição do Whitney Museum of American Art , "Young America 1957". Suas peças foram consideradas radicalmente diferentes das obras dos outros vinte e nove artistas. Painting in Three Panels, por exemplo, foi particularmente notada; na época, os críticos questionaram sua criação de uma obra a partir de três telas. Por exemplo, Michael Plante disse que, na maioria das vezes, as peças de vários painéis de Kelly eram apertadas devido às restrições de instalação, o que reduzia a interação entre as peças e a arquitetura da sala. 

Kelly acabou se mudando de Coenties Slip , onde às vezes dividia um estúdio com a colega artista e amiga Agnes Martin , para o nono andar do estúdio/cooperativa Hotel des Artistes, na 27 West 67th Street. 

Kelly deixou Nova York para Spencertown em 1970 e foi acompanhado por seu parceiro, o fotógrafo Jack Shear, em 1984. De 2001 até sua morte, Kelly trabalhou em um estúdio de 20.000 pés quadrados em Spencertown reconfigurado e ampliado pelo arquiteto Richard Gluckman ; o estúdio original foi projetado pelos arquitetos de Schenectady , Werner Feibes e James Schmitt, em troca de uma pintura específica do local que Kelly criou para eles. Kelly e Shear se mudaram em 2005 para a residência que compartilharam até a morte do pintor, uma casa colonial revestida de madeira construída por volta de 1815. Shear atua como diretor da Fundação Ellsworth Kelly. Em 2015, Kelly doou seu conceito de projeto de construção para um local de contemplação ao Museu de Arte Blanton da Universidade do Texas em Austin. Intitulado Austin , o edifício de pedra de 2.715 pés quadrados - que apresenta janelas de vidro colorido, uma escultura de madeira totêmica e painéis de mármore preto e branco - é o único edifício projetado por Kelly e é sua obra mais monumental. Austin , que Kelly projetou trinta anos antes, foi inaugurado em fevereiro de 2018. 

Kelly morreu em Spencertown, Nova York, em 27 de dezembro de 2015, aos 92 anos. 

Ellsworth Kelly, NYC (1957)