True stories about the history of Nolan County, Texas, and the surrounding area. Topics include ambush of Frank Hamer, WASP (Women Airforce Service Pilots), Avenger Field, Artists of Nolan County, History of Funeral Industry in Roscoe, History of Coca-Cola in Sweetwater, History of Post Office in Sweetwater, Story of Sweetwater Marble and Granite Works, Description of Sweetwater, Texas in the Year 1900, and others.
A fine artist for over fifty years, Ruthie Windsor-Mann muses on four overlapping reflections of painting. The book goes through the painting process, from commencing to completion. She offers her opinions on art interpretation, museum visits, developing the eye, and the aging artist. She peppers the book with anecdotes of her experiences of being chased by the police in Hungary and spotting a fire in England.
Contains the complete collection of 62 articles (without the photos) previously published by the author in the Sweetwater Reporter in Sweetwater, Texas, about the history of Nolan County, Texas, and the surrounding area. Includes an index and additional chronologies designed especially for researchers and family historians. Topics include: Women Airforce Service Pilots (WASP), Royal Air Force (RAF), Double Heart Ranch and Rodeo, Harley Sadler, Lew Jenkins, Elvis Presley, Sweetwater Fire Department, Law Enforcement Stories (Lawmen & Outlaws), Cowboys and Indians, Frank Hamer, Drive In Theaters, Pan Zareta (famous horse), Coca-Cola, Hospitals and Courthouses of Nolan County, Grogan Wells, Santa Fe Roundhouse, C-47 Airplane Crash, S. D. Myres, Salty Pups Football Team (Sweetwater Mustangs), Dorothy Scarborough (The Wind), Mulberry Mansion, and others.
Artists' books have emerged over the last 25 years as the quintessential contemporary art form, addressing subjects as diverse as poetry and politics, incorporating a full spectrum of artistic media and bookmaking methods, and taking every conceivable form. Female painters, sculptors, calligraphers, and printmakers, as well a growing community of hobbyists, have played a primary role in developing this new mode of artistic expression. The Book as Art presents more than 100 of the most engaging women's artist books created by major fine artists such as Meret Oppenheim, May Stevens, Kara Walker, and Renee Stout and distinguished book artists such as Susan King, Ruth Laxson, Claire Van Vliet, and Julie Chen. Culled from over 800 unique or limited-edition volumes held by the National Museum of Women in the Arts, these books explore the form as a container for ideas. Descriptions of the works are accompanied by colorful illustrations and reflections by their makers, along with essays by leading scholars and a lively introduction by the most famous book artist in our culture, best-selling author Audrey Niffenegger. The exquisitely crafted objects in the The Book as Art are sure to provoke unexpected and surprising conclusions about what constitutes a book. The Book as Art accompanies the exhibition of the same name at the Museum of Women in the Arts in Washington, D.C., beginning in October 2006.
"Engrossing ... The book reads like a detective story."―The Washington Post It all started with a list of paintings. There, scribbled by a cousin she hadn't seen for years, were the names of the masters whose works once belonged to her great-grandfather, Jules Strauss: Renoir, Monet, Degas, Tiepolo, and more. Pauline Baer de Perignon knew little to nothing about Strauss, or about his vanished, precious art collection. But the list drove her on a frenzied trail of research in the archives of the Louvre and the Dresden museums, through Gestapo records, and to consult with Nobel laureate Patrick Modiano. What happened in 1942? And what became of the collection after Nazis seized her great-grandparents’ elegant Parisian apartment? The quest takes Pauline Baer de Perignon from the Occupation of France to the present day as she breaks the silence around the wrenching experiences her family never fully transmitted, and asks what art itself is capable of conveying over time.
With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers. The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Reaulx, curator of photographs at the Musee d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s. With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers. The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Reaulx, curator of photographs at the Musee d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s.
In this amusing and informative appreciation of The Simpsons, sociologist Tim Delaney looks at the many ways America''s longest-running sitcom and animated TV program reflects American culture. For more than fifteen years, the Simpsons have touched upon nearly every aspect of the American social scene--from family dynamics and social mores to local customs and national institutions. With over four hundred episodes aired so far, Delaney finds a goldmine of insights couched in parody on any number of perennial topics: - On television''s influence on American culture, Krusty the Clown says, "Would it really be worth living in a world without television? I think the survivors would envy the dead." - On New Age religion, Homer says, "To think, I turned to a cult for mindless happiness when I had beer all along." - On the thorny issue of gun ownership and home security, Homer purchases a pistol at "Bloodbath and Beyond" and then tells Marge, "I don''t have to be careful, I got a gun." - On the theme of community spirit, Bart thoughtlessly signs up with a local Boy Scout troop while on a sugar rush from eating a "Super-Squishee." The next day he realizes what he has done: "Oh, no. I joined the Junior Campers!" To which his sister, Lisa, responds: "The few, the proud, the geeky." Delaney finds many more episodes relevant to major sociological issues such as environmentalism, feminism, romance and marriage, politics, education, health, aging, and more. Students of popular culture and laypersons alike will learn basic sociological concepts and theories in a refreshing, jargon-free work that offers plenty of entertainment.
Teaching in the Art Museum investigates the mission, history, theory, practice, and future prospects of museum education. In this book Rika Burnham and Elliott Kai-Kee define and articulate a new approach to gallery teaching, one that offers groups of visitors deep and meaningful experiences of interpreting art works through a process of intense, sustained looking and thoughtfully facilitated dialogue.--[book cover].
