Bibliography and Exhibitions
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The Complete Peanuts Volume I by Charles M. Schulz
NACAE National Association of Comics Art Educators STUDY GUIDE: THE COMPLETE PEANUTS by Charles M. Schulz Volume One: 1950-1952 Study guide written by Art Baxter Introduction America was in the throes of post-war transition in 1950. Soldiers had returned home, started families and abandoned the cities for the sprawling green lawns of newly constructed suburbia. They had sacrificed during the Great Depression and subsequent war effort and this was their reward. Television was beginning to replace the picture-less radio not to mention live theater, supper clubs and dance halls, as Americans stayed home and raised families. Despite all this “progress” an empty feeling still resided in the pit of the American soul. Psychology, that new science that had recently gone mainstream, tried to explain why. Then, Charles M. Schulz’s little filler comic strip, Peanuts, appeared in the funny pages. Schulz was born in 1922, the solitary child of a barber and his wife, in St. Paul, Minnesota. Sparky, his lifelong nickname, was given to him when he was an infant, by an uncle, after the comic strip character Barney Google’s racehorse Spark Plug. Schulz had an early love and talent for drawing. He enjoyed famous comic strips like Roy Crane’s Wash Tubbs/Captain Easy (1924- 1943), the prototype of the adventure strip; E. C. Segar’s Thimble Theater (1919-1938), and its diverse cast of colorful characters going in and out rollicking adventures; and Percy Crosby’s Skippy (1925-1945) with its wise-for-his-age perceptive child protagonist. Schulz was a bright student and skipped several grades, making him the youngest and smallest in his class. -
Dick Tracy.” MAX ALLAN COLLINS —Scoop the DICK COMPLETE DICK ® TRACY TRACY
$39.99 “The period covered in this volume is arguably one of the strongest in the Gould/Tracy canon, (Different in Canada) and undeniably the cartoonist’s best work since 1952's Crewy Lou continuity. “One of the best things to happen to the Brutality by both the good and bad guys is as strong and disturbing as ever…” comic market in the last few years was IDW’s decision to publish The Complete from the Introduction by Chester Gould’s Dick Tracy.” MAX ALLAN COLLINS —Scoop THE DICK COMPLETE DICK ® TRACY TRACY NEARLY 550 SEQUENTIAL COMICS OCTOBER 1954 In Volume Sixteen—reprinting strips from October 25, 1954 THROUGH through May 13, 1956—Chester Gould presents an amazing MAY 1956 Chester Gould (1900–1985) was born in Pawnee, Oklahoma. number of memorable characters: grotesques such as the He attended Oklahoma A&M (now Oklahoma State murderous Rughead and a 467-lb. killer named Oodles, University) before transferring to Northwestern University in health faddist George Ozone and his wild boys named Neki Chicago, from which he was graduated in 1923. He produced and Hokey, the despicable "Nothing" Yonson, and the amoral the minor comic strips Fillum Fables and The Radio Catts teenager Joe Period. He then introduces nightclub photog- before striking it big with Dick Tracy in 1931. Originally titled Plainclothes Tracy, the rechristened strip became one of turned policewoman Lizz, at a time when women on the the most successful and lauded comic strips of all time, as well force were still a rarity. Plus for the first time Gould brings as a media and merchandising sensation. -
DETROIT FOCUS QUARTERLY Volume 2 Number 2 J U N E 1 9 8 3 a Visual Arts Publication
DETROIT FOCUS QUARTERLY Volume 2 Number 2 J u n e 1 9 8 3 A Visual Arts Publication A photograph Davidby Griffith from the Michigan Friends of Photography exhibition at Meadow Brook Gallery. See page 11. Judging the Jury System: jury system. Do you believe this is a valid way of selecting shows? P lag en s: An Interview with Peter Plagens I think a juried exhibition admits at the outset either that it is a by Dolores S. Slowinski regional show seeking judgment from a major urban art center or from a person from a major urban art center, or that it is something a little Peter Plagens is an artist and the author of The Sunshine Muse. He less professional, such as a juried show of student work. I don’t has written extensively for Art in America and Artforum and is Chair know of any serious, professional artist with any semblance of a man of the art department at the University of North Carolina at career in a major urban art center who submits to jurying, except in Chapel Hill. Mr. Plagens was interviewed on February 14, 1983, the most exceptional circumstances. Likewise, I don't submit to when he served as juror for the exhibition “ Peter Picks Paintings" at juries, but not as a matter of principle I submit to juries for such the Detroit Focus Gallery. The interview has been abridged. things as NEA artists fellowships, and I would submit to a jury if S lo w in s k i: there were a competition for a large work to go on a site I operate The Exhibition Committee wonders if there is any validity left to throughthe dealers, mainly three, one in New York, one in L A., and Continued next page Continued from cover Detroit Focus Quarterly Detroit Focus one in Chicago. -
ISSUE 10 - Proving the Power of Art and Artists Pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU Pg.20 09 14 22 28
OTIS COLLEGE OF ART AND DESIGN MAGAZINE 310.665.6800 / OTIS.EDU in this issue: Non-Profit Org U.S. Postage Otis College of Art and Design PAID Spring 2011 No Finish Line 9045 Lincoln Boulevard, Los Angeles, California 90045 Los Angeles, CA Permit No. 427 pg.10 ISSUE 10 - Proving the Power of Art and Artists pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU pg.20 09 14 22 28 A Foundation for the Future This issue of OMAG highlights the Foundation connected. Through the Foundation Integrated Otis prepares diverse students of Program, a beloved first-year educational Learning course, freshmen work with an art and design to enrich our world VOL.10 IN THIS ISSUE: SPRING 2011 experience that generations of Otis alumni have external, real world “site partner.” The site- through their creativity, their skill, credited for much of their success and penchant partner project focuses on sustainability and and their vision. for lifelong learning. Otis is the only college of the environment, and embodies another Foundation Development art and design on the West Coast that offers a tenet of Foundation: Knowledge carries with Founded in 1918, Otis is L.A.’s first 02 24 full Foundation Year curriculum. The program is it a responsibility to use it mindfully within independent professional school of Makers + Thinkers Mei-Lee and the Art of Legacy also unique in its approach to preparing students the community. visual arts. Otis’ 1200 students pursue for the competitive, fast-paced 21st century while Students share their first-year engagement BFA degrees in advertising design, continuing to honor time-tested fundamentals. -
A Finding Aid to the Bob Thompson Papers, 1949-2005, in the Archives of American Art
A Finding Aid to the Bob Thompson Papers, 1949-2005, in the Archives of American Art Kimberley Henze and Rihoko Ueno Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art. 2015 June 15 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1953-2003............................................................. 5 Series 2: Carol Thompson's Correspondence, 1971-2000...................................... 6 Series 3: Writings, 1949-1998................................................................................. -
PAUL STAITI Resume.Pdf
PAUL STAITI Professor of Fine Arts on the Alumnae Foundation Art History and Architectural Studies Mount Holyoke College South Hadley, Massachusetts 01075 Web www.paulstaiti.com Telephone: At Mount Holyoke At Home Fax 413 – 538 – 2244 413 – 534-5145 413 -538 - 2167 I. EDUCATION Ph.D. University of Pennsylvania M.A. UniVersity of Massachusetts B.A. UniVersity of Michigan II. PUBLICATIONS “A Surprising Influence on Obama’s Portrait,” op-ed, The Washington Post, February 12, 2018 “The Americans,” Visitors to Versailles: From Louis XIV to the French Revolution, exhibition catalog, The Metropolitan Museum of Art; New HaVen, Yale UniVersity Press, 2018. French edition: “Les Américains à Versailles” and “Benjamin Franklin, ‘L’Ambassadeur Électrique,” Visiteurs de Versailles: Voyageurs, Princes, Ambassadeurs, 1682-1789, exhibition catalog, Château de Versailles; Paris, Gallimard, 2017, pp. 206-217 “How Presidents Use their Portraits to Shape their Legacy,” op-ed, The Washington Post, January 17, 2017 “Portrait of a ReVolution,” Military History Quarterly, winter, 2017, pp. 60-65 Of Arms and Artists: The American Revolution through Painters’ Eyes; New York, Bloomsbury, 2016, iii + 400 pages. Paperback edition, New York, Bloomsbury, 2017 Chinese edition, Beijing, Gold Star Press, 2018 Awarded: Colonial Dames of America Book of the Year, 2018 Nominated: Andrew Carnegie Medal for Excellence in Non-Fiction, 2017 ReViews: Kathleen DuVal, The Wall Street Journal, October 15, 2016 Michael Upchurch, The Washington Post, October 18, 2016 Virginia DeJohn Anderson, The New York Times Book Review, December 4, 2016 Amy Henderson, The Weekly Standard, December 5, 2016 William Anthony Hay, The Claremont Review of Books, Spring, 2017 Starred reViews in: Kirkus, Booklist, Publishers Weekly “The Capitalist Portrait,” in Picturing Power: The New York Chamber of Commerce, Portraiture, and its Uses, ed. -
Related Acquisitions
6HOHFWHG:RUNVE\$IULFDQ$PHULFDQ$UWLVWVLQ/$&0$¶V3HUPDQHQW Collection *Artists included in Two Centuries of Black American Art Edgar Arceneaux (United States, b. 1972) Mask, 1997 Gouache, graphite, charcoal and ink 11 1/8 x 17 in. (28.26 x 43.18 cm) Gift of Jeff Vaughn AC1997.256.1.16 * Richmond Barthé (United States, 1901 - 1989) Inner Music, 1956 Bronze Height: 24 1/2 in. (62.2 cm) Gift of the 1989 Collectors Committee M.89.25 * Romare Bearden (United States, 1911-1988) In Black America, 1971 Screenprint Sheet: 35 1/2 x 25 1/16 in. (90.17 x 63.66 cm) Gift of Henri Ghent in memory of Henry J. Seldis M.78.57 * Romare Bearden (United States, 1911-1988) Pilate (Misty Island), 1979 Lithograph Image: 22 x 15 in. (55.88 x 38.1 cm) Gift of Joan Palevsky M.2001.76 * Romare Bearden (United States, 1911-1988) Falling Star, 1979 Color lithograph Sheet: 28 1/4 x 28 1/2 in. (71.76 x 72.39 cm) Purchased with funds provided by Joan Palevsky AC1997.100.1 Dawoud Bey (United States, b. 1953) Amishi, 1993 Internal dye-diffusion (Polarcolor ER) print Sheet: 29 1/4 x 21 3/4 in. (74.3 x 55.25 cm) each Ralph M. Parsons Fund M.2000.33.1-.4 * John Biggers (United States, 1924 - 2001) Cotton Pickers, 1947 Conté crayon and gouache on paperboard Image and sheet: 9 5/8 x 29 3/4 in. (100.65 x 75.57 cm); Framed: 47 x 37 x 2 in. (119.38 x 93.98 x 5.08 cm) Purchased with funds provided by Mr. -
A History of Mixed-Race Women in the United States During the Early Twentieth Century
Of Double-Blooded Birth: A History of Mixed-Race Women in the United States during the Early Twentieth Century Jemma Grace Carter Thesis submitted for the degree of Doctor of Philosophy in American Studies at the University of East Anglia, School of Arts, Media, and American Studies January 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract Often homogenised into broader narratives of African-American history, the historical experience of mixed-race women of black-white descent forms the central research focus of this thesis. Examining the lives of such women offers a valuable insight into how notions of race, class, gender and physical aesthetics were understood, articulated and negotiated throughout the United States during the early-twentieth century. Through an analysis of wide-ranging primary source material, from letters, diaries and autobiographies to advertisements, artwork and unpublished poetry, this thesis provides an interdisciplinary contribution to the field of Critical Mixed Race Studies, and African- American history. It builds on existing interpretations of the Harlem Renaissance by considering the significance of mixed-racial heritage on the formation of literature produced by key individuals over the period. Moreover, this research reveals that many of the visual and literary sources typically studied in isolation in fact informed one another, and had a profound impact on how factors such as beauty, citizenship, and respectability intersected, and specifically influenced the lives of mixed-race women. -
'They Made Gullah': Modernist Primitivists and The
“ ‘They Made Gullah’: Modernist Primitivists and the Discovery and Creation of Sapelo Island, Georgia’s Gullah Community, 1915-1991” By Melissa L. Cooper A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of Dr. Mia Bay and approved by New Brunswick, New Jersey January 2012 2012 Melissa L. Cooper ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION “ ‘They Made Gullah’: Modernist Primitivists and the Discovery and Creation of Sapelo Island, Georgia’s Gullah Community, 1915-1991” by Melissa L. Cooper Dissertation Director: Dr. Mia Bay ABSTRACT: The history of Sapelo Islanders in published works reveals a complex cast of characters, each one working through ideas about racial distinction and inheritance; African culture and spirituality; and the legacy of slavery during the most turbulent years in America’s race-making history. Feuding social scientists, adventure seeking journalists, amateur folklorists, and other writers, initiated and shaped the perception of Sapelo Islanders’ distinct connection to Africa during the 1920s and 1930s, and labeled them “Gullah.” These researchers characterized the “Gullah,” as being uniquely connected to their African past, and as a population among whom African “survivals” were readily observable. This dissertation argues that the popular view of Sapelo Islanders’ “uniqueness” was the product of changing formulations about race and racial distinction in America. Consequently, the “discovery” of Sapelo Island’s Gullah folk was more a sign of times than an anthropological discovery. This dissertation interrogates the intellectual motives of the researchers and writers who have explored Sapelo Islanders in their works, and argues that the advent of American Modernism, the development of new social scientific theories and popular cultural works during the 1920s and 1930s, and other trends shaped their depictions. -
FP 8.2 Summer1988d Updated.Pdf (4.050Mb)
a current listing of contents Volume 8, Number 2 Summer 1988 Published by Susan Searing, Women's Studies Librarian University of Wisconsin System 1 12A Memorial Library 728 State Street Madison, Wisconsin 53706 (608) 263-5754 a current listing of contents Volume 8, Number 2 Summer 1988 Periodical literature is the cutting edge of women's scholarship, feminist theory, and much of women's culture. Feminist-- Periodicals:- .- - -. - A Current Listing of--- Contents is published by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicals wi 11 serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum of feminist periodicals ; and to provide the requisite bib1iographi c information should a reader wish to subscribe to a journal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyri ghted materi a1 s .) Table of contents pages from current issues of major feminist journals are reproduced in each issue of Femi nist Periodical s , preceded by a comprehensi ve annotated 1isting of a1 1 journals we have selected. As puhl ication schedules vary enormously, not every periodical wi 11 have table of contents pages reproduced in each issue of -FP. The annotated listing provides the following infonnation on each journal : 1. Year of fi rst publication. -
A Never Ending Never Done Bibliography of Multicultural Literature for Younger and Older Children
DOCUMENT RESUME ED 407 388 SP 037 304 AUTHOR Walters, Toni S., Comp.; Cramer, Amy, Comp. TITLE A Never Ending Never Done Bibliography of Multicultural Literature for Younger and Older Children. First Edition. PUB DATE 96 NOTE 51p. PUB TYPE Information Analyses (070) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Adolescent Literature; Adolescents; *American Indian Literature; American Indians; Asian Americans; *Black Literature; Blacks; Children; Childrens Literature; Elementary Secondary Education; *Ethnic Groups; *Hispanic American Literature; Hispanic Americans; United States Literature IDENTIFIERS African Americans; *Asian American Literature; Latinos; *Multicultural Literature; Native Americans ABSTRACT People of all ages are addressed in this bibliography of multicultural literature. It focuses on four major ethnic groups: African Americans, Asian Americans, Latino Americans, and Native Americans. Within each category a distinction is made between those works with an authentic voice and those with a realistic voice. An authentic voice is an author or illustrator who is from the particular ethnic group and brings expertise and life experience to his/her writings or illustrations. A realistic voice is that of an author or illustrator whose work is from outside that experience, but with valuable observations. An asterisk notes the distinction. No distinction is drawn between juvenile literature and adult literature. The decision is left to the reader to make the choices, because some adult literature may contain selections appropriate to children. Two appendices provide: a selected annotated bibliography (14 entries) on multiethnic/multicultural literature references and analyses and sources of multiethnic/multicultural books.(SPM) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. -
Oral History Interview with Archibald Motley, 1978 Jan. 23-1979 Mar. 1
Oral history interview with Archibald Motley, 1978 Jan. 23-1979 Mar. 1 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 Interview DB: Dennis Barrie AM: Archibald Motley DB: Today is January 23, 1978. I am here in the home of Archibald Motley, a Chicago artist. My name is Dennis Barrie. Today we're going to talk about Mr. Motley's life and career. I thought I'd start by asking you to give us a little background about your family, about the family you came from. AM: Well, I'd like to start first with my two grandmothers, the one on the side of my father and the one on the side of my mother, maternal and paternal. The grandmother that I painted was on the paternal side. She was the one I think I told you I cared so very, very much about. She was a very kind person, a nice person, she had so much patience. I've always hoped that I could continue her teaching that she taught me when I was young. I think I've done a pretty fair job of it because I still have the patience of Job not only in my work but I think I've it with people. Now I'm going over to the other grandmother. She was a pygmy from British East Africa, a little bit of a person, very small, she was about four feet, eight or nine inches.