THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS PATRONS CONCERNING ITS SERVICE

1201-S

CLASS OF SERVICE

This is a full-rate
Telegram or Cable-
gram unless its de-
ferred character is in-
dicated by a suitable
sign above or preced-
ing the address.

R. B. WHITE
PRESIDENT

NEWCOMB CARLTON
CHAIRMAN OF THE BOARD

J. C. WILLEVER
FIRST VICE-PRESIDENT

WESTERN
UNION

SIGNS

DL = Day Letter

NM = Night Message

NL = Night Letter

LC = Deferred Cable

NLT = Cable Night Letter

Ship Radiogram

The filing time as shown in the date line on full-rate telegrams and day letters, and the time of receipt at destination as shown on all messages, is STANDARD TIME.

Received at

SF3 9=LAKEGEORGE NY SEP 11 912A

GEORGIA OKEEFFE=

GHOST RANCH ESPANOLA NMEX=

CONGRATULATIONS LARGE BLUE MORNING GLORY AM DELIGHTED

MUCH LOVE=

ALFRED.

830 A.

<table><thead><tr><th colspan="2">MINUTES IN TRANSIT</th></tr><tr><th>FULL-RATE</th><th>DAY LETTER</th></tr></thead></table>

THE QUICKEST, SUREST AND SAFEST WAY TO SEND MONEY IS BY TELEGRAPH OR CABLE

DR. LEOPOLD STIEGLITZ

1040 PARK AVENUE
NEW YORK

Sunday.

Dear Al:

Billy Hoff-Amanda's younger boy-is on his honey moon in the West
They plan to spend some time at Santa Fe, their first stop after a few days spent in Chicago. They asked about Taos and may want to go there.
I told them that Georgia was somewhere not far from Taos-the young wife,
a very refined Baltimore girl, is interested in painting and a great admirer of Georgia's work I told them I would write to you and that you
might write to Georgia about them; I thought if they got to Taos itself
it would be nice if they got an introduction to Mabel Dodge, of whom I
always understood that she kept "open house". Billy's address is to be
Hotel La Fonda, Santa Fe, New Mexico. If they like the country they may go
no further-possibly just to see the Grand Canyon.

I hope the improvement that set in
in your "stomatitis" has continued. I stopped in at 509 Madison a couple of days ago but was told by the elevator man that the place is closed.
With love

1201-S

CLASS OF SERVICE

R. B. WHITE
PRESIDENT

WESTERN
UNION

SIGNS

DL = Day Letter

NM = Night Message

NL = Night Letter

LC = Deferred Cable

NLT = Cable Night Letter

Ship Radiogram

Received at

SF6 15=NEWYORK NY OCT 11 120P

MISS GEORGIA OKEEFFE=
ESPANOLA NMEX=

AM ALL RIGHT UNDER NO CONDITIONS DARE YOU BREAK YOUR STAY

MUCH LOVE AM WRITING=
ALFRED.

1137 AM.

CALL FOR AN
AMERICAN ARTISTS' CONGRESS

THIS is a Call to all artists, of recognized standing in their profession, who are aware of the critical conditions existing in world culture in general, and in the field of the Arts in particular. This Call is to those artists, who, conscious of the need of action, realize the necessity of collective discussion and planning, with the objective of the preservation and development of our cultural heritage. It is for those artists who realize that the cultural crisis is but a reflection of a world economic crisis and not an isolated phenomenon.

The artists are among those most affected by
the world economic crisis. Their income has dwin-
dled dangerously close to zero.

Dealers, museums, and private patrons have long ceased to supply the meager support they once gave.

Government, State and Municipally sponsored Art Projects are giving only temporary employment—to a small fraction of the artists.

The wage scale on these projects has been consistently below the standard set by the House Painters' Union. Present Government policy on the Works Program will drive it below subsistence level.

All these attempts have failed conspicuously

<table>
  <tbody>
    <tr>
      <td>Ivan le Loraine Albright</td>
      <td>Edith Bronson</td>
    </tr>
    <tr>
      <td>George Ault</td>
      <td>Alexander Brook</td>
    </tr>
    <tr>
      <td>Peggy Bacon</td>
      <td>Sonia Gordon Brown</td>
    </tr>
    <tr>
      <td>Herman Baron</td>
      <td>Jacob Burck</td>
    </tr>
    <tr>
      <td>A. S. Baylinson</td>
      <td>Paul Burlin</td>
    </tr>
    <tr>
      <td>Maurice Becker</td>
      <td>Paul Cadmus</td>
    </tr>
    <tr>
      <td>Ahron Ben-Shmuel</td>
      <td>Nicolai Cikovsky</td>
    </tr>
    <tr>
      <td>Theresa Bernstein</td>
      <td>John Cunningham</td>
    </tr>
    <tr>
      <td>Joseph Biel</td>
      <td>Lew E. Davis</td>
    </tr>
    <tr>
      <td>Henry Billings</td>
      <td>Stuart Davis</td>
    </tr>
    <tr>
      <td>Jolan Gross Bittelheim</td>
      <td>Adolf Dehn</td>
    </tr>
    <tr>
      <td>Lucile Blanch</td>
      <td>Julio de Diego</td>
    </tr>
    <tr>
      <td>Arnold Blanch</td>
      <td>Thomas Donnelly</td>
    </tr>
    <tr>
      <td>Lou Block</td>
      <td>Aaron Douglas</td>
    </tr>
    <tr>
      <td>Peter Blume</td>
      <td>Ed Dreis</td>
    </tr>
    <tr>
      <td>Aaron Bohrod</td>
      <td>Mabel Dwight</td>
    </tr>
    <tr>
      <td>Cameron Booth</td>
      <td>Dorothy Eisner</td>
    </tr>
    <tr>
      <td>Margaret Bourke-White</td>
      <td>Charles Ellis</td>
    </tr>
    <tr>
      <td>Ernest Brace</td>
      <td>Ernest Fiene</td>
    </tr>
  </tbody>
</table>

to provide that economic base on which creative
work can be accomplished.

In addition to his economic plight, the artist must face a constant attack against his freedom of expression.

Rockefeller Center, the Museum of Modern Art, the Old Court House in St. Louis, the Coit Memorial Tower in San Francisco, the Abraham Lincoln High School, Rikers Island Penitentiary—in these and other important public and semi-public institutions, suppression, censorship or actual destruction of art works has occurred.

Oaths of allegiance for teachers, investigations of colleges for radicalism, sedition bills aimed at the suppression of civil liberties, discrimination against the foreign-born, against Negroes, the re-actionary Liberty League and similar organizations, Hearst journalism, etc., are daily reminders of fascist growth in the United States.

A picture of what fascism has done to living standards, to civil liberties, to workers' organizations, to science and art, the threat against the peace and security of the world, as shown in Italy and Germany, should arouse every sincere artist to action.

We artists must act. Individually we are power-
less. Through collective action we can defend our

<table>
  <tbody>
    <tr>
      <td>Todros Geller</td>
      <td>Karl Knaths</td>
    </tr>
    <tr>
      <td>Hugo Gellert</td>
      <td>Frederic Knight</td>
    </tr>
    <tr>
      <td>Lydia Gibson</td>
      <td>Benj. Kopman</td>
    </tr>
    <tr>
      <td>C. Adolph Glassgold</td>
      <td>Eve Kottgen</td>
    </tr>
    <tr>
      <td>H. Glintenkamp</td>
      <td>Yasuo Kuniyoshi</td>
    </tr>
    <tr>
      <td>Aaron Goodelman</td>
      <td>Edward Laning</td>
    </tr>
    <tr>
      <td>Harry Gottlieb</td>
      <td>Doris Lee</td>
    </tr>
    <tr>
      <td>Waylande Gregory</td>
      <td>Russell Limbach</td>
    </tr>
    <tr>
      <td>Wm. Gropper</td>
      <td>Erle Loran</td>
    </tr>
    <tr>
      <td>John Groth</td>
      <td>Louis Lozowick</td>
    </tr>
    <tr>
      <td>Minna Harkavy</td>
      <td>Eugene Ludins</td>
    </tr>
    <tr>
      <td>Bertram Hartman</td>
      <td>Jack Markow</td>
    </tr>
    <tr>
      <td>Emil Holzauer</td>
      <td>William Meyerowitz</td>
    </tr>
    <tr>
      <td>Eitaro Ishigaki</td>
      <td>Edward Millman</td>
    </tr>
    <tr>
      <td>Joe Jones</td>
      <td>Lewis Mumford</td>
    </tr>
    <tr>
      <td>Jacob Kainen</td>
      <td>Isamu Noguchi</td>
    </tr>
    <tr>
      <td>Louis Kamm</td>
      <td>Elizabeth Olds</td>
    </tr>
    <tr>
      <td>Morris Kantor</td>
      <td>Peter Paul Ott</td>
    </tr>
    <tr>
      <td>Jerome Klein</td>
      <td>George Picken</td>
    </tr>
  </tbody>
</table>

interests. We must ally ourselves with all groups
engaged in the common struggle against war and
fascism.

There is need for an artists' organization on a nation-wide scale, which will deal with our cultural problems. The creation of such a permanent organization, which will be affiliated with kindred organizations throughout the world, is our task.

The Artists' Congress, to be held in New York City, February 15, 1936, will have as its objective the formation of such an organization. Discussion at the Congress will include the following:

Fascism and War; Racial Discrimination; Preservation of Civil Liberties; Imprisonment of Revolutionary Artists and Writers; Federal, State and Municipal Art Projects; Municipal Art Gallery and Center; Federal Art Bill; Rental of Pictures; the Art Schools during the Crisis; Museum Policy in the Depression; Subject Matter in Art; Aesthetic Directions; Relations of Media and Material to Art Content; Art Criticism.

We the undersigned artists, representing all sections of the United States, ask you to show your solidarity with us by signing this Call and by participating in the Congress.

<table>
  <tbody>
    <tr>
      <td>Walter Quirt</td>
      <td>Jack W. Taylor</td>
    </tr>
    <tr>
      <td>Anton Refregier</td>
      <td>Morris Topchevsky</td>
    </tr>
    <tr>
      <td>Boardman Robinson</td>
      <td>LeRoy Turner</td>
    </tr>
    <tr>
      <td>Gilbert Rocke</td>
      <td>Abraham Walkowitz</td>
    </tr>
    <tr>
      <td>Andree Ruellan</td>
      <td>Lynd Ward</td>
    </tr>
    <tr>
      <td>Saul Schary</td>
      <td>Louis Weiner</td>
    </tr>
    <tr>
      <td>Katherine Schmidt</td>
      <td>Charles S. Wells</td>
    </tr>
    <tr>
      <td>Georges Schreiber</td>
      <td>Charmion von Wiegand</td>
    </tr>
    <tr>
      <td>Alfred A. Sessler</td>
      <td>Gilbert Wilson</td>
    </tr>
    <tr>
      <td>Ben Shahn</td>
      <td>Arnold Wiltz</td>
    </tr>
    <tr>
      <td>William Siegel</td>
      <td>Caleb Winholtz</td>
    </tr>
    <tr>
      <td>Mitchell Siporin</td>
      <td>Jan Wittenber</td>
    </tr>
    <tr>
      <td>David Smith</td>
      <td>Ann Wolfe</td>
    </tr>
    <tr>
      <td>Moses Soyer</td>
      <td>Art Young</td>
    </tr>
    <tr>
      <td>Raphael Soyer</td>
      <td>Santos Zingale</td>
    </tr>
    <tr>
      <td>Niles Spencer</td>
      <td>Nick Ziroli</td>
    </tr>
    <tr>
      <td>Benton Spruance</td>
      <td></td>
    </tr>
    <tr>
      <td>Harry Sternberg</td>
      <td></td>
    </tr>
  </tbody>
</table>

Copies of this Call can be obtained from

STUART DAVIS, SECRETARY, ARTISTS' CONGRESS

52 West 8th Street

New York City

SIGNATURE

ADDRESS

THIS QUESTIONAIRE is for the information of the Membership Committee of the Artists Congress. Please fill it out and return with your signature on the Call. No application for membership will be considered unless accompanied by the information specified in this questionnaire.

1. Name in Full

2. Address in Full

3. Profession (check branch pursued) Painter Sculptor Graphic Artist

4. If you have been a teacher of art, state where, when and what branch

5. Give name of art organizations of which you are a member

6. Where has your work been shown in the last three years (give principal places)

7. Where and when have you received awards for your work, if any

8. What important commissions have you executed

9. Name museums and important collections where your work is owned

10. If you write on art, state where and when articles have appeared

Date

Send this questionnaire with your signature on the Call, to STUART DAVIS, Secretary, Org. Comm., Artists' Congress, 52 West 8th Street, New York City, N. Y.

209

123

Air mail

Georgia O'Keeffe
Post Ranch
Abiqui
New Mexico

gift is giving. this we learn. hard to learn. recompense we
dont understand. hence talk, effort, search, research.

in the Whitney museum is a painting by Charles Demuth
called "MY EGYPT". it represents gift - giving. it is small,
obscure, delicate—a study of factory buildings—dextrous,
acute, perhaps the finest sense of a modern age that has been
expressed. this painting has a history. its history may some
day be known. a slow process, this knowing, knowing history.
hard to know. the painting may then be seen, be received.
hard to see, to receive.

the American Indians express what they know by means
of dance. within their dance occurs a gesture, simple gesture
—body in balance, slight almost imperceptible step forward,
shoulders dropped, elbows flexed, wrists and hands in con-
stant rhythmic motion—palms out—palms in. it makes one
wonder if giving and receiving—giving and seeing—are not
the same thing.

"IT MUST BE SAID"
NUMBER FOUR
AN AMERICAN PLACE
509 MADISON AVENUE
NEW YORK CITY
NOVEMBER 1935