As a part of the New Deal that offered hope during the Great Depression, scores of public art projects were commissioned around the country. Now they are among the most enduring visual legacies of that era. Twelve Nebraska post offices were chosen to receive individualized murals from the program. Nebraska's Post Office Murals presents the story of these valuable historical pieces. Richly illustrated with color fold-outs and never-before-published artists' sketches, the book reveals the personalities, conflicts, and spirit of the times from which the art emerged. Each of the artists commissioned to paint the murals had a background story. Author Robert Puschendorf, NSHS associate director and the deputy state historic preservation officer, follows the journey of each mural to its completion.
The united states government commissioned over 1,100 murals for the embellishment of post offices nationwide. Wisconsin received 35 of these murals. After nearly 85 years, the story of their existence is elusive and often overlooked. Gates's research of the correspondence between the artists and government tells the stories of how the murals were developed and eventually installed in small towns throughout Wisconsin. Wisconsin Post Office Murals is packed with fascinating details: 130 full-color images of the murals 70 images of buildings and cornerstones Full-color map with the location of each town The history and story of each mural Written to educate and promote these wonderful Depression-era works of art and buildings, Wisconsin Post Office Murals is a must-have for any New Deal, history, or post office enthusiast. If you've ever been to any of the 35 post offices written about here and asked yourself, Why is there a mural in the lobby or Who is the artist who painted the mural on the wall, this is the book for you.
Created in 1934, the Coit Tower murals were sponsored by the Public Works of Art Project (PWAP), the first of the New Deal art programs. Twenty-five master artists and their assistants worked there, most of them in buon fresco, Nearly all of them drew upon the palette and style of Diego Rivera. The project boosted the careers of Victor Arnautoff, Lucien Labaudt, Bernard Zakheim, and others, but Communist symbols in a few murals sparked the first of many national controversies over New Deal art. Sixty full-color photographs illustrate Robert Cherny’s history of the murals from their conception and completion through their evolution into a beloved San Francisco landmark. Cherny traces and critiques the treatment of the murals by art critics and historians. He also probes the legacies of Coit Tower and the PWAP before surveying San Francisco’s recent controversies over New Deal murals. An engaging account of an artistic landmark, The Coit Tower Murals tells the full story behind a public art masterpiece.
Arbor Day, Boys Town, and Kool-Aid® are just a few of the marks the Great Plains state of Nebraska has made on American culture. From the state's eastern border along the Missouri River, where Lewis and Clark embarked on the Corps of Discovery expedition, to the towering geologic landmarks of the west, chronicled in pioneers' journals, there are treasures to explore on each page of C is for Cornhusker: A Nebraska Alphabet.Rajean Luebs Shepherd was raised in Michigan and has a degree in elementary education from Central Michigan University. After graduating, she traveled the world for ten years with the international performing group Up With People. A substitute teacher, Rajean enjoys sharing her favorite children's books with her students. She lives with her family in North Platte, Nebraska. With over twenty years in commercial illustration, Sandy Appleoff's work has appeared in a range of venues from corporate advertising, to magazines to children's books to large-scale installation murals. She has taught at the Kansas City Art Institute and the Colorado Mountain College in Aspen. Currently she is teaching and working on an MFA in stage and costume design at the University of Kansas. Sandy lives on a farm in Falls City, Nebraska.
2020 Canadian Association for Latin American and Caribbean Studies (CALACS) Book Prize In post-1968 Mexico a group of artists and feminist activists began to question how feminine bodies were visually constructed and politicized across media. Participation of women was increasing in the public sphere, and the exclusive emphasis on written culture was giving way to audio-visual communications. Motivated by a desire for self-representation both visually and in politics, female artists and activists transformed existing regimes of media and visuality. Women Made Visible by Gabriela Aceves Sepúlveda uses a transnational and interdisciplinary lens to analyze the fundamental and overlooked role played by artists and feminist activists in changing the ways female bodies were viewed and appropriated. Through their concern for self-representation (both visually and in formal politics), these women played a crucial role in transforming existing regimes of media and visuality—increasingly important intellectual spheres of action. Foregrounding the work of female artists and their performative and visual, rather than written, interventions in urban space in Mexico City, Aceves Sepúlveda demonstrates that these women feminized Mexico’s mediascapes and shaped the debates over the female body, gender difference, and sexual violence during the last decades of the twentieth century. Weaving together the practices of activists, filmmakers, visual artists, videographers, and photographers, Women Made Visible questions the disciplinary boundaries that have historically undermined the practices of female artists and activists and locates the development of Mexican second-wave feminism as a meaningful actor in the contested political spaces of the era, both in Mexico City and internationally.
