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My Back Pages #1
My Back Pages #1 L’iMMaginario coLLettivo deL rock neLLe fotografie di Ed CaraEff, HEnry diltz, HErb GrEEnE, Guido Harari, art KanE, astrid KirCHHErr, Jim marsHall, norman sEEff e bob sEidEmann 04.02 | 11.03.2012 Wall of sound gallery La capsula del tempo decolla… La musica non è solo suono, ma anche immagine. Senza le visioni di questi fotografi, non avremmo occhi per guardare la musica. Si può ascoltare e “ca- pire” Jimi Hendrix senza vedere la sua Stratocaster in fiamme sul palco di Monterey, fissata per sempre da Ed Caraeff? O intuire fino in fondo la deriva amara di Janis Joplin senza il crudo bianco e nero di Jim Marshall che ce la mostra affranta con l’inseparabile bottiglia di Southern Comfort in mano? Nasce così l’immaginario collettivo del rock, legato anche a centinaia di co- pertine di dischi. In questa mostra sfilano almeno una dozzina di classici: dagli album d’esordio di Crosby Stills & Nash e di Stephen Stills in solitario a Morrison Hotel dei Doors, The Kids Are Alright degli Who, al primo disco americano dei Beatles per l’etichetta VeeJay, Hejira di Joni Mitchell, Surre- alistic Pillow dei Jefferson Airplane, Grateful Dead di Jerry Garcia e compa- gni, Genius Loves Company di Ray Charles, Stage Fright della Band di Robbie Robertson, Desperado degli Eagles e Hotter Than Hell dei Kiss. Il tempismo è tutto. Soprattutto trovarsi come per miracolo all’inizio di qualcosa, ad una magica intersezione col destino che può cambiare la vita di entrambi, fotografo e fotografato. Questo è successo ad astrid Kirchherr con i Beatles ancora giovanissimi ad Amburgo, o a Herb Greene immerso nella ribollente “scena” musicale di San Francisco. -
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Results and Description Print Page 1 of 4 Print Results Close Screen Sale 15537 - Life on the Golden Road with the Grateful Dead: The Ram Rod Shurtliff Collection, 8 May 2007 220 San Bruno Avenue, San Francisco, California Prices are inclusive of Buyer's Premium and sales tax (VAT, TVA etc) and may be subject to change. Lot Description Hammer Price 1 A Bob Seidemann mounted-to-board photographic print of The Grateful Dead, $1,680 1971 2 Two color photographs of Jerry Garcia and Bob Weir, circa 1968 $900 3 Five black and white photographs of The Grateful Dead, circa 1969 $780 4 A massive display piece of The Grateful Dead from The Winterland Ballroom, circa $9,600 1966-1978 5 A poster of Pig Pen and Janis Joplin, 1972 $720 6 A Herb Greene signed black and white photograph of The Grateful Dead, 1965, $1,320 1988 7 A Herb Greene signed black and white photograph of Jerry Garcia, 1966, 1980s $960 8 A Herb Greene signed limited edition black and white photograph of The Grateful $2,400 Dead with Bob Dylan, 1987, 1999 9 A Herb Greene signed black and white photograph of The Grateful Dead and Bob $1,440 Dylan, 1987, 1999 10 A Herb Greene signed and numbered limited edition poster of Jerry Garcia, 1966, $900 2003 11 A group of photographs of The Grateful Dead, 1960s-1990s $480 12 A William Smythe signed color photograph of Phil Lesh, 1983 $360 13 A Bob Thomas group of original paintings created for The Grateful Dead album $87,000 jacket "Live/Dead," 1969 14 An RIAA gold record given to The Grateful Dead for "Grateful Dead" (aka "Skull $11,400 and -
Introduction in Their Thirty Years Together, the Grateful Dead Forever
Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement. -
MC 18.2 NYSCC School of Art and Design
MC 18.2 NYSCC School of Art and Design Box 1-6 Acquisition: Processed: E. Gulacsy Box 7 - 8 Acquisition: Kathy Isaman, Summer 1997 Processed: E. Gulacsy Notes: Promotional Tapes (Snodgrass, 1984, 1993) are shelved on media shelf. Box 9- Acquisition: Art Office, Summer 1998 Processed: E. Gulacsy Updated: Laura Habecker February 2020 The New York State College of Ceramics at Alfred University, Scholes Library Series Description: This collection contains post WWII administrative files, curriculum, faculty files and guest lectures for the NYSCC school of Art and Design. Note: for information on the school’s earlier history see the MC01 Charles Binns Collection. Collection: Box 1 Admissions (1953-1960): Undergraduates 1960 Graduates (photo) Philip Hedstrom travel schedule Rod Brown travel schedule Richard Harder travel schedule Graduate School Undergraduates 1953-1958 Applications, graduate school American Federation of Art (1951-57) Architectural historians: (Society of) 1956-59 Pittsburgh meeting 1-26-56 Applications for Teaching Positions (1954-62): Candidates for jobs in Fall 1954 Folder II Candidates for teaching positions Sept 1955 Candidates for teaching positions Sept 1956 Candidates for teaching positions June-Sept 1957 Candidates for teaching positions Sept 1958 (2 folders) Candidates for teaching positions Art History Sept. 1959 Teaching Positions 1959 Teaching Positions 1960 Teaching Positions 1961-62 Referred by Shipley for Rhodes replacement, Sept. 1963 Teaching Positions 1960-61, 61-62 Art Education (1952-57): Art education Methods Student Records Art Festival (1951-61): Art festival Fine Arts Association & Alfred Guild Arts Festival 5/5-15/60 Arts Festival 1960- Book Orders & Corresp. (1951-60): Book orders and Correspondence Sept. -
Paul Soldner Artist Statement
Paul Soldner Artist Statement velutinousFilial and unreactive Shea never Roy Russianized never gnaw his westerly rampages! when Uncocked Hale inlets Griff his practice mainstream. severally. Cumuliform and Iconoclastic from my body of them up to create beauty through art statements about my dad, specializing in a statement outside, either taking on. Make fire it sounds like most wholly understood what could analyze it or because it turned to address them, unconscious evolution implicitly affects us? Oral history interview with Paul Soldner 2003 April 27-2. Artist statement. Museum curators and art historians talk do the astonishing work of. Writing to do you saw, working on numerous museums across media live forever, but thoroughly modern approach our preferred third party shipper is like a lesser art? Biography Axis i Hope Prayer Wheels. Artist's Resume LaGrange College. We are very different, paul artist as he had no longer it comes not. He proceeded to bleed with Peter Voulkos Paul Soldner and Jerry Rothman in. But rather common condition report both a statement of opinion genuinely held by Freeman's. Her artistic statements is more than as she likes to balance; and artists in as the statement by being. Ray Grimm Mid-Century Ceramics & Glass In Oregon. Centenarian ceramic artist Beatrice Wood's extraordinary statement My room is you of. Voulkos and Paul Soldner pieces but without many specific names like Patti Warashina and Katherine Choy it. In Los Angeles at rug time--Peter Voulkos Paul Soldner Jerry Rothman. The village piece of art I bought after growing to Lindsborg in 1997. -
Nmservis Nceca 2015
nce lournal 'Volume37 lllllllIt { t t \ \ t lr tJ. I nceoqKAlt$[$ 5OthAnnual Conference of the NationalCouncilon C0'LECTURE:INNOVATIONS lN CALIFORNIACIAY NancyM. Servis and fohn Toki Introduction of urbanbuildings-first with architecturalterra cotta and then Manythink cerar.nichistory in theSan Francisco Bay Area with Art Decotile. beganin 1959with PeterVoulkos's appointrnent to theUniversi- California'sdiverse history served as the foundationfor ty of California-Berkeley;or with Funkartist, Robert Arneson, its unfolding cultural pluralisrn.Mexico claimed territory whosework at Universityof California-Davisredefined fine art throughlarge land grants given to retiredmilitary officersin rnores.Their transfonnative contributions stand, though the his- themid l9th century.Current cities and regions are namesakes tory requiresfurther inquiry. Califbr- of Spanishexplorers. Missionaries nia proffereda uniqueenvironr.nent arriving fronr Mexico broughtthe through geography,cultural influx, culture of adobe and Spanishtile and societalflair. cleatingopportu- with ther.n.Overland travelers rni- nity fbr experirnentationthat achieved gratedwest in pursuitof wealthand broadexpression in theceralnic arts. oppoltunity,including those warrtilrg Today,artistic clay use in Cali- to establishEuropean-style potteries. forniais extensive.lts modernhistory Workersfrorn China rnined and built beganwith the l9th centurydiscov- railroads,indicative of California's ery of largeclay deposits in the Cen- directconnection to PacificRirn cul- tral Valley, near Sacramento.This -
Oral History Interview with Louis Mueller, 2014 June 24-25
Oral history interview with Louis Mueller, 2014 June 24-25 Funding for this interview was provided by the Artists' Legacy Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Louis Mueller on June 24-25, 2014. The interview took place in New York, NY, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Archives of American Art's Viola Frey Oral History Project funded by the Artists' Legacy Foundation. Louis Mueller, Mija Riedel, and the Artists' Legacy Foundation have reviewed the transcript. Their corrections and emendations appear below in brackets appended by initials. The reader should bear in mind they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Louis Mueller at the artist's home in New York [City] on June 24, 2014 for the Smithsonian Archives of American Art. This is card number one. Let's get the autobiographical information out of the way and we'll move on from there. LOUIS MUELLER: Okay. MS. RIEDEL: —what year were you born? MR. MUELLER: I was born June 15, 1943 in Paterson, NJ . MS. RIEDEL: And what were your parents' names? MR. MUELLER: My mother's name was Loretta. My father's name was Louis Paul. MS. RIEDEL: And your mother's maiden name? MR. MUELLER: Alfano. MS. RIEDEL: Any siblings? MR. MUELLER: No. -
Oral History Interview with Marilyn Levine, 2002 May 15
Oral history interview with Marilyn Levine, 2002 May 15 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Marilyn Levine on May 15, 2002. The interview took place in Oakland, California, and was conducted by Glenn Adamson for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Marilyn Levine and an outside editor have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview name is Glenn Adamson. I’m the interviewer and I’m going to be talking with Marilyn for the next couple of hours about her life and work. It is May 15, 2002, and we’re sitting in Marilyn’s home, which adjoins her studio here in Oakland. And I guess, maybe, the first thing I’ll ask you, Marilyn, is how long have you been in this space? MARILYN LEVINE: Well, about 26 years. MR. ADAMSON: Mm-hmm. MS. LEVINE: It was an old warehouse when I moved here. -
Craft Horizons JANUARY/FEBRUARY 1969 $2.00 Potteraipiney Wheel S & CERAMIC EQUIPMENT I
craft horizons JANUARY/FEBRUARY 1969 $2.00 PotterAipiney Wheel s & CERAMIC EQUIPMENT i Operating from one of the most modern facilities of its kind, A. D. Alpine, Inc. has specialized for more than a quarter of a century in the design and manufac- ture of gas and electric kilns, pottery wheels, and a complete line of ceramic equipment. Alpine supplies professional potters, schools, and institutions, throughout the entire United States. We manufacture forty-eight different models of high fire gas and electric kilns. In pottery wheels we have designed an electronically controlled model with vari- able speed and constant torque, but we still manufacture the old "KICK WHEEL" too. ûzùzêog awziözbfe Also available free of charge is our book- let "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department." WRITE TODAY Dept. A 353 CORAL CIRCLE EL SEGUNDO, CALIF. 90245 AREA CODE (213) 322-2430 772-2SS7 772-2558 horizons crafJanuary/February 196t9 Vol. XXIX No. 1 4 The Craftsman's World 6 Letters 7 Our Contributors 8 Books 10 Three Austrians and the New Jersey Turnpike by Israel Horovitz 14 The Plastics of Architecture by William Gordy 18 The Plastics of Sculpture: Materials and Techniques by Nicholas Roukes 20 Freda Koblick by Nell Znamierowski 22 Reflections on the Machine by John Lahr 26 The New Generation of Ceramic Artists by Erik Gronborg 30 25th Ceramic National by Jean Delius 36 Exhibitions 53 Calendar 54 Where to Show The Cover: "Phenomena Phoenix Run," polyester resin window by Paul Jenkins, 84" x 36", in the "PLASTIC as Plastic" show at New York's Museum of Contemporary Crafts (November 22-Januaiy 12). -
Psychedelic Resource List (PRL) Was Born in 1994 As a Subscription-Based Newsletter
A Note from the Author… The Psychedelic Resource List (PRL) was born in 1994 as a subscription-based newsletter. In 1996, everything that had previously been published, along with a bounty of new material, was updated and compiled into a book. From 1996 until 2004, several new editions of the book were produced. With each new version, a decrease in font size correlated to an increase in information. The task of revising the book grew continually larger. Two attempts to create an updated fifth edition both fizzled out. I finally accepted that keeping on top of all of the new books, businesses, and organizations, had become a more formidable challenge than I wished to take on. In any case, these days folks can find much of what they are looking for by simply using an Internet search engine. Even though much of the PRL is now extremely dated, it occurred to me that there are two reasons why making it available on the web might be of value. First, despite the fact that a good deal of the book’s content describes things that are no longer extant, certainly some of the content relates to writings that are still available and businesses or organizations that are still in operation. The opinions expressed regarding such literature and groups may remain helpful for those who are attempting to navigate the field for solid resources, or who need some guidance regarding what’s best to avoid. Second, the book acts as a snapshot of underground culture at a particular point in history. As such, it may be found to be an enjoyable glimpse of the psychedelic scene during the late 1990s and early 2000s. -
Gathered Momentum: Black Mountain College and Haystack Mountain School of Crafts in the 1950S M
Gathered Momentum: Black Mountain College and Haystack Mountain School of Crafts in the 1950s M. Rachael Arauz, Ph.D. Journal of Black Mountain College Studies Volume 12: Expanding the Canon (Spring 2021) Article URL: http://www.blackmountainstudiesjournal.org/arauz-haystack/ Published online: May 2021 Published by: Black Mountain College Museum + Arts Center Asheville, North Carolina https://www.blackmountaincollege.org Editors: Thomas E. Frank, Wake Forest University Carissa Pfeiffer, Black Mountain College Museum + Arts Center Production Editor: Kate Averett, Black Mountain College Museum + Arts Center Note: The Journal of Black Mountain College Studies is a digital publication, intended to be experienced and referenced online. PDFs are made available for offline reading, but may have changes in layout or lack multimedia content (such as audio or video) as compared to the online article. Journal of Black Mountain College Studies, Volume 12 (Spring 2021) Gathered Momentum: Black Mountain College and Haystack Mountain School of Crafts in the 1950s M. Rachael Arauz, Ph.D. The founding years of Haystack Mountain School of Crafts, an acclaimed alternative institution for craft education still thriving on the coast of Maine, were the subject of a 2019 museum exhibition and scholarly catalogue organized by the Portland Museum of Art, Maine. Diana Greenwold and I served as co-curators for the project, and our research revealed Haystack’s connections to several mid-century experimental and craft-based educational programs such as Black Mountain College and Penland School of Crafts in North Carolina, Cranbrook Academy in Michigan, and Pond Farm Workshops in Guerneville, California. Drawn from that research, this article offers a brief summary of events and specific artists who forged early points of contact between Haystack and Black Mountain College, and suggests the ways in which Black Mountain College’s demise provided a touchstone for Haystack’s innovative beginnings. -
Kilns • Kiln Kits
.o . ,~° D J D 0 o • • • ° °/ ~p "m s i°e ° e -4" v P # ,I °o B* • t WF, STWqlDqDID CEI AMIC, SlIIDIDILY COMIDA Y IDn-i tluuees Vau-ie/ies iJf tonne ,;nn-e Clays!* So when you come to us for clay, be ready with the specifics! We can supply you with a clay which will suit your most exacting needs. WESTWOOD CERAMIC SUPPLY CO. 14400 LOMITAS AVE.. CITY OF INDUSTRY. CALIF. 91"744 THROWING ON THE Decorating POTTER'S Throwing Potter's Pottery on the Wheel with Clay, NH£F'L Potter's Projects Slip & Glaze Wheel edited by by Thomas Sellers Thomas Sellers by F. Carlton Ball This beautifully illustrated book ex- A complete manual on how to use The projects in this handbook pro- the potter's wheel. Covers all basic vide step-by-step instruction on a plores many easy methods of deco- rating pottery with clay, slip and steps from wedging clay to making wide variety of special throwing specific shapes. Clearly describes techniques, with each project demon- glaze. Those who lack skill and confidence in drawing and painting every detail using step-by-step photo strated by an accomplished crafts- technique. Includes section on selec- man. Bells, bird houses and feeders, will find special pleasure in discov- ering the easily executed decorating tion of the proper wheel and acces- musical instruments, teapots, and a text in many you'll techniques devised by this master sory tools. Used as animals are just a few items colleges and schools. 80 pages $4.00 find presented.