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Earlyne S. Lie vitas
Rome, Ga., ip Atlanta
_ be only 70 mile*, but if jrou
by way of New York, it fan
Nt' half a lifetime.
Maxine Yalovitz haa just re
turned to Atlanta, not in perron 1
but in the form of a one-man;
•bow, now being held at thcf
newly-opened Midtown Gallery.
Born in Borne, Georgia, Maxine
grew up an only child, a lerioua
student, a lover of art from
early school days. Today, deep fn
Greenwich Village, nearly 960
miles from Atlanta, Maxine 'is
busy creating a smashing world
of contemporary art. !
; The tingling atmosphere / of
modern living can be felt wher-
mrer Maxine lives and works.
Mf i was true here on Briarcliff
»d, her studio and homf in
York are one and / the
The air of her surrotind-
seems to penetrate > her
ntings . . . the turpentine
Ivor, splattered paint cans, the
le-wom easel. Everything
ffom her studio to the front
door reflects the artist—a single
flower, hurriedly stuck hi to a
skinny vase, a perking blue cof
fee pot. It’s the artist’s delight
in shapes of life around her.
Stark white walls (always a
must with Maxine) the bulky
black grand piano that,' started
out so long ago in Rome, a mass
of her powerful, siiperb paintings
covering the walls, the very per
sonal memorabilia Maxine has ac
quired over the years sell mingle
into a fabulous, contemporary
f$tnng. I
But twenty years ago, her
room was just a shell
After graduating from the
University of Cincinnati, Maxine
attended the High Museum of
Art, later joining the faculty.
She loved teaching. Her stu
dents used to sit around the old
Museum long after classes had
been dismissed. Maxine was no
forced intellectual. She had im
mense talent, and they seemed
to sense it. She knew her busi
ness thoroughly. Her drawings
were incredibly expressive, and
she knew how to share her in
nate talent with those around
her. In a down-to-e a r t h,
modest way, Maxine imparted
her wisdom to these eager
youngsters from all over the
South, giving each one the per
sonal attention of a doting
wilt.
Maxine also taught at Georgia
State University, in the Atlanta
Public Schools for the Depart
ment of HEW, and was guest
instructor at the Atlanta Uni
versity.
. puiing this period Maxine
could frequently be found some
where in the' sprawling enor
mity of Montag Paper Co.,
Where she was art director. In
addition to teaching, she occcu-
pied an “all-over-the-place” of
fice with the huge stationery
manufacturer. With delicate
Originality, Maxine co-ordinated
the letterhead designs with the
package of pie product.
• “Her stationery boxes were
THE MU
iranainum
ATLANTA? ‘CmaMAL-DWNUk TMCATM
' • > NOW FLAYING
ri fr‘
Jean Kerr’s
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RSSaaVATtONS ONLY
probably the most dignified in
the country,” said one local
critic.
Often her 100 pound frame was
nearly burled in high-stacked
mountains of stationery boxes.
But the "end result” traveled and
was sold all over the world.
No question about it. Maxine
was a busy young lady. Teaching
was an Important facet of her
career. Designing stationery
reached the musses. Free-lance
assignments, from portraits to’
elevator door, kept the brushes
wet—and the cupboard full
Yet all this was not enough!
There were the “one-man”
shows. Maxine’s following follow
ed her to Columbus and back,
to rickety converted bouses like
the one on Peachtree , Judith
Alexander affectionately called
“a gallery.” There were the
orchid-studded shows at. the Mu
seum, and the informal luncheon
exhibits in the quaint old Coach
House behind the Museum. There
seemed to be nd end to the
shows.
She has exhibited at the South
eastern Annual, Atlanta, Georgia;
Hunter Annual, Chattanoog a
Tennessee; Pratt Institute, Brook
lyn, New Yolk; Art in the Em
bassies Program, Taipei, Taiwan;
Ursinus College, Ursinus, Penn
sylvania, and numerous other
showings.
Her fabulous painting, “Color
ing Book,” which many Intfangtsa
believe to be a self-portrait, waa
chosen to hang in the Coca-Cola
PavBlion at the New York
World’s Fair in a collection of
noteworthy paintings by Georgia
artists. It is now in a private
collection in' Atlanta.
• Maxine took time-off for still
more education and attended
Braudels University. And the
quality of her work was enrich
ed even further.
Somewhere in the mid-sixties,
Maxine Yalovitz became one of
the South’s lee
artists. Show after show, judged
or otherwise, ended up with her
claiming a “Blue Ribbon.” In
1963, one of her magnificent
paintings won first prize at the
Atlanta Arts Festival in Pied
mont Park. She received a $1,000
grant-in-aid at the Atlanta Arts
Festival and two merit awards.
As could be expected, local col
lectors were beginning to recog
nize the importance of this bril
liant talent. People with establish
ed art collections were failing in
love with the gigantic four-foot-
on page 13
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