"The book includes essays by five experts in the field, presenting and analyzing the work of sixty-seven artists. Rachel Rosenfield Lafo introduces the reader to the Boston art scene, from the academic institutions that have nourished the area's painters, to the galleries where their work has been shown, to the museums, exhibitions, and critics that have shaped public opinion. Writing about the realist tradition that has thrived in Boston for over three hundred years, John Stomberg focuses on a group of painters of widely differing styles who have redefined realism in modern and contemporary terms."--BOOK JACKET.
In 1985, winemaker Joe Benziger and Sonoma artist Bob Nugent struck on the idea of putting original art on special releases of Imagery Estate wines. The goal was straight-forward: commission the world's modern art luminaries to create works for reproduction onto wine labels. Two decades and 160 labels later, they have assembled a staggering collection of contemporary art, from the likes of Sol Lewitt, Terry Winters, Nancy Graves, John Baldessari, Judy Pfaff, and Bob Arneson. This book highlights 133 works of art, the best of the Imagery collection. The images are big and lush, and accompanied by biographical sketches of the artists' careers, as well as a short description of their individual ideas and methods. The pictorial index shows the works in their label-form, from 1985 to the most recent vintages. These images are evocations of wine's multi-faceted ability to inspire us.
Industrial landscape paintings by John Moore executed over the last three decades focus on sites from Conneaut, Ohio, to Waterville, Maine, including Coatesville, Pennsylvania, a locale that has inspired such American Modernists as Charles Demuth and Ralston Crawford. Moore has revisited places in Coatesville and throughout the rustbelt that he painted twenty years ago, and his most recent paintings depict changes that have occurred there since. One of his subjects, Paradise, Pennsylvania, 13 miles west of Coatesville, is Amish farmland, a place that is the rural antithesis of industrial life in America. Moore is often described as one of the one of the leading realist painters of his generation, and many of his paintings resemble places where he grew up. While the images appear immediately recognizable, the paintings are, in fact, partial composites, based on specific sites but also incorporating formal concerns and oral history as told by individuals with ties to the regions. The Thirteen Miles from Paradise catalogue is drawn from the exhibition of the same name at the Arthur Ross Gallery of the University of Pennsylvania, where Moore has been Gutman Professor of Fine Arts and chair of the Department of Fine Arts since 1999. The catalogue includes contributions by Alexi Worth, a senior critic in the Department of Fine Arts at the University of Pennsylvania; and by Debra Bricker Balken, an independent curator and writer.
A TOUCHING MEMOIR OF ART AND MARRIAGE IN BOSTON’S VIBRANT SOUTH END In Love Made Visible, Jean Gibran portrays her role as spouse of a gifted artist and their often stormy family life together in Boston’s diverse South End. In the process, she vividly recalls to life the prolific Boston Expressionist art scene to which the South End was home. Retracing the course of her fifty-year marriage to sculptor Kahlil Gibran, cousin of the noted poet Gibran Kahlil Gibran, she reflects on the trials and joys of defying conventions of the 1950s, embracing another culture, raising a child in the household of a driven artist, and enabling her husband’s passion for sculpture and craft. Like her “mostly happy marriage,” and the fiercely local and independent artistic movement to which she pays homage, Gibran’s moving, idiosyncratic memoir finds its own form as she confronts the costs—and reaffirms the value—of creative commitment, in art and in life. Accompanying the memoir are a summary of the sculptor Gibran’s work, brief biographical sketches of many mid-twentieth-century artists and personalities who populated Boston and Provincetown, and commentaries by art historian Charles Giuliani of Berkshire Fine Arts and museum director and curator Katherine French of the Danforth Museum of Art.
In this book, John Bowman helps novice and out-of-practice classifiers to understand how to use Dewey to classify works. He outlines the content of the scheme and its structure and then, through worked examples based on real and imaginary titles, teaches readers how to use the scheme. Fully worked out answers and notes are provided. The book's contents include: introduction and background outline and description of the schedules how to classify simple subjects number-building, 1: standard subdivisions number-building, 2: other methods preference order exceptions special subjects how to cope with difficult items WebDewey. Readership: Written in an engaging and direct style and as a sister publication to the best-selling Essential Cataloguing, this text is ideal for library students, public, school and solo librarians and classifiers who are just starting to use Dewey and want some simple examples.
"This is the book on women’s art I’ve been waiting for—smart, deeply rooted, and up-to-date, with an overdue focus on women of color that fills in the historical cracks. Read it and run with it."—Lucy R. Lippard, author of The Pink Glass Swan: Selected Essays on Feminist Art "More than merely beautiful and ground-breaking, Art/ Women/ California 1950-2000 is also about the enriching interventions created by diverse women artists, the effect of whose work is not only far-reaching, but has also opened up the very definition of American art. It is about intellectual interdisciplinality and the dialectical relationship between art and social context. It is about the way various California cultures—Native, Latino, Asian, feminist, immigrant, politically active, and virtual, which are so different from the trope of the Western cowboy—have intervened in that entity we imagine as ‘America.’ "—Elaine Kim, editor of Dangerous Women: Gender and Korean Nationalism "Rich and provocative. A pleasure to read and to look at."—Linda Nochlin, author of The Body in Pieces: The Fragment as a Metaphor of Modernity "This book should greatly help everyone understand the remarkably diversified evolution of art in California, which is largely due to the great influx of women and the transformative effect of a new feminist consciousness."—Arthur C. Danto, author of Philosophizing Art: Selected Essays
