In The Art of Albert Paley, noted critic and art historian Edward Lucie-Smith discusses the diversity and significance of Paley's achievements and explores how, like so many American artists, his work crosses the boundaries that separate art from craft. The more than one hundred illustrations reproduce not only Paley's major works, but also his preliminary drawings, many published here for the first time.
In Enormous Changes at the Last Minute, originally published in 1974, Grace Paley "makes the novel as a form seem virtually redundant" (Angela Carter, London Review of Books). Her stories here capture "the itch of the city, love between parents and children" and "the cutting edge of combat" (Lis Harris, The New York Times Book Review). In this collection of seventeen stories, she creates a "solid and vital fictional world, cross-referenced and dense with life" (Walter Clemons, Newsweek).
Chinese edition of The art of invention:The Creative Process of Discovery and Design by Steven J. Paley. In Traditional Chinese. Distributed by Tsai Fong Books, Inc.
Albert Paley's monumental sculpture, Threshold, was dedicated on October 30, 2006, in Rochester, New York. Located in front of the new headquarters for the Klein Steel Service Inc., it was commissioned by the company and its CEO, Joe Klein, and it commemorates the long-standing professional and personal relationship between Albert Paley and Joe Klein. The book documents the history of Klein Steel from its origins in post-World War II Rochester to the present day. In doing so, the city of Rochester is featured as is the background of the steel industry in the United States. Joe Klein's education, busines acumen and his commitment to the arts and creativity is examined, as is his friendship with Albert Paley, covering over 35 years. The artist's evolution is framed within the context of patronage in the arts and corporate support of the arts, as well as against the background of recent public art and site-specific sculpture. Paley's work has been widely published, collected, and exhibited since the mid-1970s. He is constantly responding to new challenges and his sculpture has never ceased to evolve. This story of the making of Threshold reaffirms his search for new modes of creativity, as well as the dialogue between sculpture and architecture at the same time. This documents the unique bond between a chief executive officer and an artist.
"This book documents the dynamic creative process--from concept to construction--that realized this ... contemporary sculpture at RIT ... a ... collaboration of artistic vision, engineering skill, and a university's dedication to supporting the arts"--Back cover.
Sculptor Paley has completed more than 50 works of art for both public institutions and private corporations over his 30-year career as one of the world's foremost sculptors, including the Portal Gates for the New York State Senate Chambers in Albany; a monumental sculpture for a Federal Building in Asheville, N.C.; a plaza sculpture for AT & T in Atlanta; as well as a 65-foot sculpture for the entry court of Bausch and Lomb's headquarters in Rochester, N.Y. From exhibition description.
How does a teacher begin to appreciate and tap the rich creative resources of the fantasy world of children? What social functions do story playing and storytelling serve in the preschool classroom? And how can the child who is trapped in private fantasies be brought into the richly imaginative social play that surrounds him? The Boy Who Would Be a Helicopter focuses on the challenge posed by the isolated child to teachers and classmates alike in the unique community of the classroom. It is the dramatic story of Jason-the loner and outsider-and of his ultimate triumph and homecoming into the society of his classmates. As we follow Jason's struggle, we see that the classroom is indeed the crucible within which the young discover themselves and learn to confront new problems in their daily experience. Vivian Paley recreates the stage upon which children emerge as natural and ingenious storytellers. She supplements these real-life vignettes with brilliant insights into the teaching process, offering detailed discussions about control, authority, and the misuse of punishment in the preschool classroom. She shows a more effective and natural dynamic of limit-setting that emerges in the control children exert over their own fantasies. And here for the first time the author introduces a triumvirate of teachers (Paley herself and two apprentices) who reflect on the meaning of events unfolding before them.
Who of us cannot remember the pain and humiliation of being rejected by our classmates? However thick-skinned or immune to such assaults we may become as adults, the memory of those early exclusions is as palpable to each of us today as it is common to human experience. We remember the uncertainty of separating from our home and entering school as strangers and, more than the relief of making friends, we recall the cruel moments of our own isolation as well as those children we knew were destined to remain strangers. In this book Vivian Paley employs a unique strategy to probe the moral dimensions of the classroom. She departs from her previous work by extending her analysis to children through the fifth grade, all the while weaving remarkable fairy tale into her narrative description. Paley introduces a new rule—“You can’t say you can’t play”—to her kindergarten classroom and solicits the opinions of older children regarding the fairness of such a rule. We hear from those who are rejected as well as those who do the rejecting. One child, objecting to the rule, says, “It will be fairer, but how are we going to have any fun?” Another child defends the principle of classroom bosses as a more benign way of excluding the unwanted. In a brilliant twist, Paley mixes fantasy and reality, and introduces a new voice into the debate: Magpie, a magical bird, who brings lonely people to a place where a full share of the sun is rightfully theirs. Myth and morality begin to proclaim the same message and the schoolhouse will be the crucible in which the new order is tried. A struggle ensues and even the Magpie stories cannot avoid the scrutiny of this merciless pack of social philosophers who will not be easily caught in a morality tale. You Can’t Say You Can’t Play speaks to some of our most deeply held beliefs. Is exclusivity part of human nature? Can we legislate fairness and still nurture creativity and individuality? Can children be freed from the habit of rejection? These are some of the questions. The answers are to be found in the words of Paley’s schoolchildren and in the wisdom of their teacher who respectfully listens to them.
It was in the rolling hills and small cities of western New York State that the studio craft movement took root and thrived. In the 1900's the region was home to Charles Fergus Binns' New York State School of Clay-Working at Alfred University, Elbert Hubbard's Roycroft community, Gustav Stickley's furniture and Steuben's Glass Works in Corning. In the mid-to late 20th century Alfred nourished such important ceramists as Daniel Rhodes, Robert Turner, and Anne Currier. In 1950 the School for American Craftsman (SAC) moved to Rochester, attracting artists including John Prip, Ronald Pearson who added to what is still today a vibrant community. AUTHOR: Barabara Lovenheim, journalist and author, has written on the arts and lifestyle for The New York Times, The Wall Street Journal, The International Herald Tribune and many national magazines. Paul J. Smith, Director Emeritus of the American Craft Museum (now Museum of Arts and Design) has been involved with the craft and design field for more than 50 years. 107 colour & 21 b/w illustrations
