"Summary discusses selected steel sculptures fabricated by the American painter-sculptor David Smith (1906-1965), as well as Smith's drawings and paintings. Emphasizes his investigation of concave/convex forms, and notes his use of painted surfaces. Includes essays on Smith's photography of his own works and on his surfaces and materials"--Provided by publisher.
In Teaching and Christian Practices several university professors describe and reflect on their efforts to allow historic Christian practices to reshape and redirect their pedagogical strategies. Whether allowing spiritually formative reading to enhance a literature course, employing table fellowship and shared meals to reinforce concepts in a pre-nursing nutrition course, or using Christian hermeneutical practices to interpret data in an economics course, these teacher-authors envision ways of teaching and learning that are rooted in the rich tradition of Christian practices, as together they reconceive classrooms and laboratories as vital arenas for faith and spiritual growth.
How does photography shape the way we see sculpture? In David Smith in Two Dimensions, Sarah Hamill broaches this question through an in-depth consideration of the photography of American sculptor David Smith (1906Ð1965). Smith was a modernist known for radically shifting the terms of sculpture, a medium traditionally defined by casting, modeling, and carving. He was the first to use industrial welding as a sustained technique for large-scale sculpture, influencing a generation of minimalists to come. What is less known about Smith is his use of the camera to document his own sculptures as well as everyday objects, spaces, and bodies. His photographs of his sculptures were published in countless exhibition catalogs, journals, and newspapers, often as anonymous illustrations. Far from being neutral images, these photographs direct a pictorial encounter with spatial form and structure the public display of his work. David Smith in Two Dimensions looks at the sculptorÕs adoption of unconventional backdrops, alternative vantage points, and unusual lighting effects and exposures to show how he used photography to dramatize and distance objects. This comprehensive and penetrating account also introduces SmithÕs expansive archive of copy prints, slides, and negatives, many of which are seen here for the first time. Hamill proposes a new understanding of SmithÕs sculpture through photography, exploring issues that are in turn vital to discourses of modern sculpture, sculptural aesthetics, and postwar art. In SmithÕs photography, we see an artist moving fluidly between media to define what a sculptural object was and how it would be encountered publicly.
"This comprehensive sourcebook is destined to become a lasting and definitive resource on the art and aesthetic philosophy of the American artist David Smith (1906-1965). A pioneer of twentieth-century modernism, Smith was renowned for the expansive formal and conceptual ambitions of his broadly diverse and inventive welded-steel abstractions. His groundbreaking achievements drew freely on cubism, surrealism, and constructivism, profoundly influencing later movements such as minimalism and environmental art. By radically challenging older conventions of monolithic figuration and refuting arbitrary distinctions between painters and sculptors, Smith asserted sculpture's equal role in advancing modern art. A compilation of Smith's poems, sketchbook notes, essays, lectures, letters to the editor, reviews, and interviews, these previously unpublished texts underscore the varied ways in which his writing functioned as a means to examine and articulate his private identity and to promote the social ideals that made him a key participant in contemporary discourses surrounding modernism, art and politics, and sculptural aesthetics. All the documents in David Smith: collected writings, lectures, and interviews have been newly corrected against the original manuscripts, typescripts, and audiotapes. Each text in this collection is annotated with historical and contextual information that reflects Smith's own process of continually reviewing and revising his writings in response to his evolving aspirations as a visual artist."--Provided by publisher.
“An essential account of America’s greatest sculptor . . . [A] magnum opus.” —Marjorie Perloff, The Times Literary Supplement The landmark biography of the inscrutable and brilliant David Smith, the greatest American sculptor of the twentieth century. David Smith, a pioneer of Abstract Expressionism, did more than any other sculptor of his era to bring the plastic arts to the forefront of the American scene. Central to his project of reimagining sculptural experience was challenging the stability of any identity or position—Smith sought out the unbounded, unbalanced, and unexpected, creating works of art that seem to undergo radical shifts as the spectator moves from one point of view to another. So groundbreaking and prolific were his contributions to American art that by the time Smith was just forty years old, Clement Greenberg was already calling him “the greatest sculptor this country has produced.” Michael Brenson’s David Smith: The Art and Life of a Transformational Sculptor is the first biography of this epochal figure. It follows Smith from his upbringing in the Midwest, to his heady early years in Manhattan, to his decision to establish a permanent studio in Bolton Landing in upstate New York, where he would create many of his most significant works—among them the Cubis, Tanktotems, and Zigs. It explores his at times tempestuous personal life, marked by marriages, divorces, and fallings-out as well as by deep friendships with fellow artists like Helen Frankenthaler and Robert Motherwell. His wife Jean Freas described him as “salty and bombastic, jumbo and featherlight, thin-skinned and Mack Truck. And many more things.” This enormous, contradictory vitality was true of his work as well. He was a bricoleur, a master welder, a painter, a photographer, and a writer, and he entranced critics and attracted admirers wherever he showed his work. With this book, Brenson has contextualized Smith for a new generation and confirmed his singular place in the history of American art.
Improve Your Creativity, Effectiveness, and Ultimately, Your Code In Modern Software Engineering, continuous delivery pioneer David Farley helps software professionals think about their work more effectively, manage it more successfully, and genuinely improve the quality of their applications, their lives, and the lives of their colleagues. Writing for programmers, managers, and technical leads at all levels of experience, Farley illuminates durable principles at the heart of effective software development. He distills the discipline into two core exercises: learning and exploration and managing complexity. For each, he defines principles that can help you improve everything from your mindset to the quality of your code, and describes approaches proven to promote success. Farley's ideas and techniques cohere into a unified, scientific, and foundational approach to solving practical software development problems within realistic economic constraints. This general, durable, and pervasive approach to software engineering can help you solve problems you haven't encountered yet, using today's technologies and tomorrow's. It offers you deeper insight into what you do every day, helping you create better software, faster, with more pleasure and personal fulfillment. Clarify what you're trying to accomplish Choose your tools based on sensible criteria Organize work and systems to facilitate continuing incremental progress Evaluate your progress toward thriving systems, not just more "legacy code" Gain more value from experimentation and empiricism Stay in control as systems grow more complex Achieve rigor without too much rigidity Learn from history and experience Distinguish "good" new software development ideas from "bad" ones Register your book for convenient access to downloads, updates, and/or corrections as they become available. See inside book for details.
How leading American artists reflected on the fate of humanity in the nuclear era through monumental sculpture In the wake of the atomic bombings of Japan in 1945, artists in the United States began to question what it meant to create a work of art in a world where humanity could be rendered extinct by its own hand. The New Monuments and the End of Man examines how some of the most important artists of postwar America revived the neglected tradition of the sculptural monument as a way to grapple with the cultural and existential anxieties surrounding the threat of nuclear annihilation. Robert Slifkin looks at such iconic works as the industrially evocative welded steel sculptures of David Smith, the austere structures of Donald Judd, and the desolate yet picturesque earthworks of Robert Smithson. Transforming how we understand this crucial moment in American art, he traces the intersections of postwar sculptural practice with cybernetic theory, science-fiction cinema and literature, and the political debates surrounding nuclear warfare. Slifkin identifies previously unrecognized affinities of the sculpture of the 1940s and 1950s with the minimalism and land art of the 1960s and 1970s, and acknowledges the important contributions of postwar artists who have been marginalized until now, such as Raoul Hague, Peter Grippe, and Robert Mallary. Strikingly illustrated throughout, The New Monuments and the End of Man spans the decades from Hiroshima to the Fall of Saigon, when the atomic bomb cast its shadow over American art.
In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title "Prehistoric Rock Pictures in Europe and Africa", it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius. Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous American abstract art. Presenting unseen archival material, letters, and exhibition documentation, Prehistoric Pictures and American Modernism offers a new reading of the development of modern American abstraction, and will hold an important place in the historiography of the movement, its global traditions, and its legacy.
The 2nd edition of Materials Chemistry builds on the strengths that were recognized by a 2008 Textbook Excellence Award from the Text and Academic Authors Association (TAA). Materials Chemistry addresses inorganic-, organic-, and nano-based materials from a structure vs. property treatment, providing a suitable breadth and depth coverage of the rapidly evolving materials field — in a concise format. The 2nd edition continues to offer innovative coverage and practical perspective throughout, e.g.: the opening solid-state chemistry chapter uses color illustrations of crystalline unit cells and digital photos of models to clarify their structures. This edition features more archetypical unit cells and includes fundamental principles of X-ray crystallography and band theory. In addition, an ample amorphous-solids section has been expanded to include more details regarding zeolite syntheses, as well as ceramics classifications and their biomaterial applications. The subsequent metals chapter has been re-organized for clarity, and continues to treat the full spectrum of powder metallurgical methods, complex phase behaviors of the Fe-C system and steels, and topics such as corrosion and shape-memory properties. The mining/processing of metals has also been expanded to include photographs of various processes occurring in an actual steelmaking plant. The semiconductor chapter addresses evolution and limitations/solutions of modern transistors, as well as IC fabrication and photovoltaics. Building on the fundamentals presented earlier, more details regarding the band structure of semiconductors is now included, as well as discussions of GaAs vs. Si for microelectronics applications, and surface reconstruction nomenclature. The emerging field of ‘soft lithographic’ patterning is now included in this chapter, and thin film deposition methodologies are also greatly expanded to now include more fundamental aspects of chemical vapor deposition (CVD) and atomic layer deposition (ALD). The polymer and ‘soft’ materials chapter represents the largest expansion for the 2nd edition. This chapter describes all polymeric classes including dendritic polymers, as well as important additives such as plasticizers and flame-retardants, and emerging applications such as molecular magnets and self-repairing polymers. This edition now features ‘click chemistry’ polymerization, silicones, conductive polymers and biomaterials applications such as biodegradable polymers, biomedical devices, drug delivery, and contact lenses. Final chapters on nanomaterials and materials-characterization techniques are also carefully surveyed, focusing on nomenclature, synthetic techniques, and applications taken from the latest scientific literature. The 2nd edition has been significantly updated to now include nanotoxicity, vapor-phase growth of 0-D nanostructures, and more details regarding synthetic techniques and mechanisms for solution-phase growth of various nanomaterials. Graphene, recognized by the 2010 Nobel Prize in Physics, is now also included in this edition. Most appropriate for Junior/Senior undergraduate students, as well as first-year graduate students in chemistry, physics, or engineering fields, Materials Chemistry may also serve as a valuable reference to industrial researchers. Each chapter concludes with a section that describes important materials applications, and an updated list of thought-provoking questions. The appendices have also been updated with additional laboratory modules for materials synthesis (e.g., porous silicon) and a comprehensive timeline of major materials developments.
