DOCSLIB.ORG

Deconstructing Books, Reconstructing Women Summers Esther Morris University of South Carolina

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Deconstructing Books, Reconstructing Women Summers Esther Morris University of South Carolina University of South Carolina Scholar Commons Theses and Dissertations 1-1-2013 Deconstructing Books, Reconstructing Women Summers Esther Morris University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Art Practice Commons Recommended Citation Morris, S. E.(2013). Deconstructing Books, Reconstructing Women. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/ etd/447 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. DECONSTRUCTING BOOKS, RECONSTRUCTING WOMEN by Summers Morris Bachelor of Fine Arts University of South Carolina, 2007 ___________________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Arts in Art Studio College of Arts and Sciences University of South Carolina 2013 Accepted by: Sara Schneckloth, Director of Thesis Marius Valdes, Reader Bradford Collins, Reader Lacy Ford, Vice Provost and Dean of Graduate Studies ABSTRACT The goal of my thesis project is to examine the notion of choice encountered by females with respect to gender roles. I intend to underscore the turmoil which often comes from choices that leave many classic feminine roles left unattended by either sex. I have created three altered books that address these struggles, as I have personally experienced these, regarding marriage, motherhood, and domesticity. Each book analyzes the conflicting nature of choice and, according to my own decisions as a modern feminist, concludes accordingly. This in-depth look at the struggle for women to not only choose gender roles to adopt, but to live with the consequences that lie in their wake, is best communicated through the use of altered books. The altered books themselves function conceptually as a metaphor, contain formal elements that enhance various concepts within each book, and allow for appropriation which lends itself to humor which defines my voice as the artist and narrator. Beyond the laughter, my hope is that those who empathize with the desperation felt by the female characters in my books may also understand the actual seriousness of the messages, acknowledging the humor and hardships that accompany my characters as they work to find their way through each one of my narratives. ii TABLE OF CONTENTS ABSTRACT……………………………………………………………………………... ii LIST OF FIGURES…………………………………………………………...………….iv CHAPTER 1-INTRODUCTION...…………………………………………………….…1 CHAPTER 2-PROJECT DESCRIPTION………………………………………………..7 CHAPTER 3-JUSTIFICATION...…….………………………………………………....11 CHAPTER 4-RESEARCH……………………………...…………………………….…20 CHAPTER 5-PROCESS..……...………………………………………………………...25 CHAPTER 6-CONCLUSION….………………………………………………………..27 WORKS CITED.………………………………………………………………………...31 APPENDIX A- ZOMBIE MOMMY………...……………………………………………33 APPENDIX B- MECHANICAL MATRIMONY………………………………………....59 APPENDIX C- THE ESCAPE…………………………………………………………...82 APPENDIX D- MISCELLANEOUS..…………………………………………………..92 iii LIST OF FIGURES Figure A.1 Zombie Mommy Front Cover………………………………………………...33 Figure A.2 Zombie Mommy Back Cover………………………………………………...34 Figure A.3 Zombie Mommy Unaltered First Page……………………………………….35 Figure A.4 Zombie Mommy Unaltered Second Page…………………………………….36 Figure A.5 Zombie Mommy Beginning of Altered Pages…………………………..……37 Figure A.6 Zombie Mommy…………………………………………………………..….38 Figure A.7 Zombie Mommy………………………………………………………..…….39 Figure A.8 Zombie Mommy…………………………………………………………..….40 Figure A.9 Zombie Mommy……………………………………………………………...41 Figure A.10 Zombie Mommy…………………………………………………………….42 Figure A.11 Zombie Mommy…………………………………………………………….43 Figure A.12 Zombie Mommy…………………………………………………………….44 Figure A.13 Zombie Mommy…………………………………………………………….45 Figure A.14 Zombie Mommy…………………………………………………………….46 Figure A.15 Zombie Mommy…………………………………………………………….47 Figure A.16 Zombie Mommy…………………………………………………………….48 Figure A.17 Zombie Mommy…………………………………………………………….49 Figure A.18 Zombie Mommy…………………………………………………………….50 Figure A.19 Zombie Mommy…………………………………………………………….51 Figure A.20 Zombie Mommy…………………………………………………………….52 iv Figure A.21 Zombie Mommy…………………………………………………………….53 Figure A.22 Zombie Mommy…………………………………………………………….54 Figure A.23 Zombie Mommy…………………………………………………………….55 Figure A.24 Zombie Mommy…………………………………………………………….56 Figure A.25 Zombie Mommy…………………………………………………………….57 Figure A.26 Zombie Mommy Unaltered Final Page………………………………….….58 Figure B.1 Mechanical Matrimony Front Cover………………………………………...59 Figure B.2 Mechanical Matrimony Detail of Coptic stitch……………………………...60 Figure B.3 Mechanical Matrimony ……………………………………………………..61 Figure B.4 Mechanical Matrimony Detail……………………………………………….61 Figure B.5 Mechanical Matrimony ……………………………………………………...62 Figure B.6 Mechanical Matrimony Detail……………………………………………….62 Figure B.7 Mechanical Matrimony ……………………………………………………...63 Figure B.8 Mechanical Matrimony Detail……………………………………………….63 Figure B.9 Mechanical Matrimony ……………………………………………………...64 Figure B.10 Mechanical Matrimony Detail………………………………………..…….64 Figure B.11 Mechanical Matrimony …………………………………………………….65 Figure B.12 Mechanical Matrimony Detail………………………………………..…….65 Figure B.13 Mechanical Matrimony Detail…………………………………………..….65 Figure B.14 Mechanical Matrimony …………………………………………………….66 Figure B.15 Mechanical Matrimony Detail……………………………………..……….66 Figure B.16 Mechanical Matrimony Detail………………………………………..…….66 Figure B.17 Mechanical Matrimony Waterfall Card Mechanics………………..……….67 v Figure B.18 Mechanical Matrimony Waterfall Card Details (1)…………………..…….68 Figure B.19 Mechanical Matrimony Waterfall Card Details (2)……………………..….69 Figure B.20 Mechanical Matrimony …………………………………………………….70 Figure B.21 Mechanical Matrimony …………………………………………………….70 Figure B.22 Mechanical Matrimony Detail……………………………………..……….71 Figure B.23 Mechanical Matrimony Detail…………………………………..………….71 Figure B.24 Mechanical Matrimony …………………………………………………….72 Figure B.25 Mechanical Matrimony Detail……………………………………..……….72 Figure B.26 Mechanical Matrimony …………………………………………………….73 Figure B.27 Mechanical Matrimony …………………………………………………….74 Figure B.28 Mechanical Matrimony …………………………………………………….74 Figure B.29 Mechanical Matrimony Detail……………………………………..……….75 Figure B.30 Mechanical Matrimony Detail…………………………………..………….75 Figure B.31 Mechanical Matrimony Detail………………………………..…………….75 Figure B.32 Mechanical Matrimony …………………………………………………….76 Figure B.33 Mechanical Matrimony Detail………………………………..…………….76 Figure B.34 Mechanical Matrimony Detail………………………………..…………….77 Figure B.35 Mechanical Matrimony Detail…………………………………..………….77 Figure B.36 Mechanical Matrimony …………………………………………………….78 Figure B.37 Mechanical Matrimony Detail…………………………………..………….78 Figure B.38 Mechanical Matrimony Detail…………………………………..………….78 Figure B.39 Mechanical Matrimony …………………………………………………….79 Figure B.40 Mechanical Matrimony Detail………………………………...……………79 vi Figure B.41 Mechanical Matrimony Detail………………………………..…………….79 Figure B.42 Mechanical Matrimony Detail…………………………………..………….80 Figure B.43 Mechanical Matrimony …………………………………………………….80 Figure B.44 Mechanical Matrimony (Wheel of Choice Detail)………...……………….81 Figure C.1 The Escape Front Cover………………………………………………..……82 Figure C.2 The Escape Back Cover…………………………………………...…………83 Figure C.3 The Escape ……………………………………………………..……………84 Figure C.4 The Escape ……………………………………………………..……………85 Figure C.5 The Escape Detail……………………………………………………………86 Figure C.6 The Escape ………………………………………………………..…………87 Figure C.7 The Escape Detail……………………………………………………………88 Figure C.8 The Escape Detail……………………………………………........…………88 Figure C.9 The Escape ………………………………………………………………..…89 Figure C.10 The Escape …………………………………………………………………90 Figure C.11 The Escape …………………………………………………………………91 Figure D.1 Zombie Mommy Journal Excerpt………………………………………..…...92 Figure D.2. Zombie Mommy “Dear Mother-To-Be” Rewrite……………………………93 Figure D.3. Zombie Mommy Unused Page Layout…………………………………...….94 Figure D.4 The Escape Ribbon Detail…………………………………………...………95 Figure D.5 Work Table…………………………………………………………………..96 Figure D. 6 Mechanical Matrimony “Maquette Madness”...……………………………97 vii CHAPTER 1 INTRODUCTION The primary intent for my thesis work is to craft three altered books which address my goal of examining the notion of choice encountered by females with respect to gender roles. The problems of craft and conceptualization are at the forefront of my research, with my major questions being: how do I construct altered books and how do I do so in a way that addresses my conceptual concerns? Regarding concept, my questions are as follows: how do I convey the juxtaposition of opposing sex-typing that conflicts many modern women and how do I create work that provokes women to question whether their gender roles are self-imposed choices or are structures set in place by their upbringing? My thesis work began with the analysis of the practice of altering books and my own personal reflections. The term “altered book” is not a term familiar to most people, in or out of the art world. The questions I receive always lead me into a short speech on the definition and history behind the art form. I find appropriation to be the best opening topic. Appropriation, in the art world, is the act of an artist taking possession of a copy of an original work of art by another artist, not with the intent of plagiarizing, but with the intent to use his or her viewer's association of that image to bring added power to the new context in which the artist
Load more

Recommended publications
  • Texts of Old Blog Posts
    !1 of !77 Ruined Books Blog A Book of Bibliolages—initial post, Feb. 27, 2013 A Book of Bibliolage makes a good place to begin this blog. The website goes back a few weeks now. The practice of bibliolaging goes back seven to ten years, depending on your definition. The word bibliolage goes back about three years, my invention, I think. And the blog starts now. A bibliolage is always an “altered book”—that’s the family—but, strange child in the corner, it abides by its own rules, sucks its very own thumb. (When I came up with the motto “Puerility Taken to a Whole New Level!” it made me smile, but it’s not terribly self-respectful.) A bibliolage is also always a collage, but it so severely does not hang on a wall, I had to build a website to hang it anywhere. A bibliolage sits on a shelf, here a creaky one, because the art takes a heavy book and makes it heavier. It takes a page and squares it, so the binding typically bulges. A library shelf keeps books aloft, vertical, slim, and Ssshhh-ed! My shelves sag, and the engorged volumes seem angry with being books. They protest at gravity, clamoring mirth. They revel in ruin and rue preservation. They do not resign to a system, least of all Dewey decimal. They do not speak for authority but squeal for special attention from the court. On the site you can find a list of titles, some eighty-six in the columns as of now, but the ranks are uneven, as some have struck off in wayward directions, but so far no new tendency has turned me from the !2 of !77 extraillustrative ‘lage.
    [Show full text]
  • One of a Kind, Unique Artist's Books Heide
    ONE OF A KIND ONE OF A KIND Unique Artist’s Books curated by Heide Hatry Pierre Menard Gallery Cambridge, MA 2011 ConTenTS © 2011, Pierre Menard Gallery Foreword 10 Arrow Street, Cambridge, MA 02138 by John Wronoski 6 Paul* M. Kaestner 74 617 868 20033 / www.pierremenardgallery.com Kahn & Selesnick 78 Editing: Heide Hatry Curator’s Statement Ulrich Klieber 66 Design: Heide Hatry, Joanna Seitz by Heide Hatry 7 Bill Knott 82 All images © the artist Bodo Korsig 84 Foreword © 2011 John Wronoski The Artist’s Book: Rich Kostelanetz 88 Curator’s Statement © 2011 Heide Hatry A Matter of Self-Reflection Christina Kruse 90 The Artist’s Book: A Matter of Self-Reflection © 2011 Thyrza Nichols Goodeve by Thyrza Nichols Goodeve 8 Andrea Lange 92 All rights reserved Nick Lawrence 94 No part of this catalogue Jean-Jacques Lebel 96 may be reproduced in any form Roberta Allen 18 Gregg LeFevre 98 by electronic or mechanical means, including photocopying, recording, or information storage retrieval Tatjana Bergelt 20 Annette Lemieux 100 without permission in writing from the publisher Elena Berriolo 24 Stephen Lipman 102 Star Black 26 Larry Miller 104 Christine Bofinger 28 Kate Millett 108 Curator’s Acknowledgements Dianne Bowen 30 Roberta Paul 110 My deepest gratitude belongs to Pierre Menard Gallery, the most generous gallery I’ve ever worked with Ian Boyden 32 Jim Peters 112 Dove Bradshaw 36 Raquel Rabinovich 116 I want to acknowledge the writers who have contributed text for the artist’s books Eli Brown 38 Aviva Rahmani 118 Jorge Accame, Walter Abish, Samuel Beckett, Paul Celan, Max Frisch, Sam Hamill, Friedrich Hoelderin, John Keats, Robert Kelly Inge Bruggeman 40 Osmo Rauhala 120 Andreas Koziol, Stéphane Mallarmé, Herbert Niemann, Johann P.
    [Show full text]
  • An Interview with Ken Campbell Nancy Campbell 15
    The Blue Notebook Volume 11 No.2 Spring - Summer 2017 1 The Blue Notebook is published in two formats: a PDF colour version, and a paper, black and white version. An annual subscription covers both formats for two issues, UK or international. For subscriptions, please visit: www.bookarts.uwe.ac.uk We welcome submissions of writing on contemporary artists’ books and related issues for The Blue Notebook. Please email [email protected] for guidelines or see: http://www.bookarts.uwe.ac.uk/publications/blue- notebook.html Artists’ contributions are by invitation from the Art Editor, Tom Sowden. The Blue Notebook journal for artists’ books is published by Wild Conversations Press, Bristol www.wildconversations.co.uk Editor: Sarah Bodman [email protected] Art Editor: Tom Sowden [email protected] Cover design: Tom Sowden Editorial address: Impact Press at the Centre for Fine Print Research UWE Bristol, Kennel Lodge Road, Bristol, BS3 2JT, UK Tel: +44 (0)117 328 4915 [email protected] www.bookarts.uwe.ac.uk The Blue Notebook Vol.11 No.2 Spring - Summer 2017 ISSN 1751-1712 (print) ISSN 1751-1720 (online) © 2017 publication, Impact Press © 2017 texts, individual authors © 2017 images, individual artists Permission to photocopy texts for personal use, one-off educational use in study packs, or for individual academic study is granted. For any other use, please contact the editor and the individual author or artist for their authorisation. The views expressed within The Blue Notebook are not necessarily those of the editors or
    [Show full text]
  • The Art of Altered Books, an Cara Barer Carole P
    THE GALLERY AT PENN COLLEGE Pennsylvania College of Technology Williamsport, Pennsylvania JANUARY 11 – FEBRUARY 28, 2018 INTRODUCTION ARTISTS Books become the canvas for contemporary artists in this national juried Cynthia Ahlstrin Edwin Jager Anthony Mead exhibition. Throughout history, books have been read, burned, banned, and Maine Wisconsin Arizona collected. Today, books are both valuable and disposable. Contemporary artists Heather Allen Hietala Peggy Johnston Christopher Moss hold the history of books – from scrolls (c. 2400 BC) to vegetable-fiber paper North Carolina Iowa Georgia (China c. 100 AD) to woodblock printing (Europe, 1418) and the Gutenberg Bible (1456) – in their hands when they choose to transform them into works Seth Apter Kevin H. Jones Brenda Oelbaum of art. The Gallery at Penn College is pleased to present a selection of artists New York Louisiana Michigan working in this important medium in Books Undone: the art of altered books, an Cara Barer Carole P. Kunstadt Chris Perry exhibition of altered books, book objects, collages, sculptures, installations, Texas New York Connecticut and more. Heather Beardsley Mary Larsen Gregg Silvis The Gallery at Penn College strives to be an important educational resource for Virginia Florida Delaware students and a cultural asset to Pennsylvania College of Technology and local Doug Beube Susan Lenz David Stabley communities. The Gallery exposes visitors to a wide variety of art, encourages New York South Carolina Pennsylvania creative thinking, adds to the cultural value of our community, and fosters an awareness of and appreciation for contemporary art. Since 2006, the Gallery Caryl Burtner Adriane Little Deborah Stabley Virginia Michigan Pennsylvania has hosted over 55 solo exhibitions and over 20 group or traveling exhibitions.
    [Show full text]
  • First Cut Communication from Members of the Guild of American Papercutters March 2020
    First Cut Communication From Members Of The Guild Of American Papercutters March 2020 Check In With Mindy Some of you might be familiar with the wonderful book by Julia Cameron, The Artist’s Way. If you are not familiar with the book, I encourage you to take it out of the library or buy a copy. It is hard to believe it is 28 years old! One of the activities from the book is to go on a weekly artist date. This could be anything from buying cheap art supplies to play around with to going to a museum exhibit. The goal is to get your creativity flowing. I recently had a terrific artist date. A dear friend came to Philadelphia from Takoma Park, MD and we went to the Barnes Foundation to see 30 Americans. This exhibit presents works by 30 important and influential contemporary African American artists. When we walked into the gallery we were greeted by Kara Walker’s Camptown Ladies (1998). I actually saw this last year in DC at another exhibit on silhouettes so it was a joy to encounter it again although the story of how African American’s were treated during the antebellum era is so disturbing, which of course is the point of the story Walker is telling. I could go on about the entire exhibit, which was amazing, but I only wanted to focus on papercutting. You can find more information about it online as it continues to travel around the country for a few more years. After we left the Barnes, we headed to the Free Library of Philadelphia used bookstore.
    [Show full text]
  • Woodstock Vol
    Mailed free to requesting homes in Eastford, Pomfret & Woodstock Vol. V, No. 3 Complimentary to homes by request (860) 928-1818/e-mail: [email protected] FRIDAY, OCTOBER 16, 2009 THIS WEEK’S Gun confirmed in accidental shooting Homebuyer QUOTE BELONGED TO ‘Nearly all men can stand PUTNAM POLICE tax credit adversity, but if you want DEPARTMENT to test a man’s power, expiring BY CHRISTOPHER TANGUAY give him power.’ STONEBRIDGE PRESS STAFF WRITER Ballistics tests performed by REAL ESTATE INSIDE the Connecticut State Police have confirmed the bullet that struck AGENTS SAY HOUSE a bystander at the Woodstock A8-9 — OPINION File photo Fairgrounds was fired from a SALES INCREASING A11 — SPORTS Putnam police officer’s gun. A Connecticut State Police vehicle sits outside the Putnam Fish and Game Club property Monday, Aug. 31, on Stonebridge Road, Woodstock. The facility was the B1 — HOT SPOT BY OLIVIA BRAATEN Turn To SHOOTING, page A13 source of a stray bullet that wounded a 66-year-old man in the head as he stood in VILLAGER CORRESONDENT B4 — OBITS the craft fair tent at the nearby Woodstock Fairgrounds. With a federal tax credit for first- B5 — RELIGION time homebuyers about to expire, B6-7 — CALENDAR local real estate agents and mort- gage bankers are rushing to finalize Three running for Board of Education purchases before the deadline. LOCAL The American Recovery and Reinvestment Act of 2009 gives first- time homebuyers a chance to reclaim a 10 percent credit, up to $8,000, off the purchase price of a new home. Unlike a 2008 measure that required payback over a 15-year period, the 2009 credit does not have to be repaid as long as the property is used as a principal residence for at least three years.
    [Show full text]
  • Northeast Vehicle Services
    Mailed free to requesting homes in Thompson Vol. V, No. IV Complimentary to homes by request (860) 928-1818/e-mail: [email protected] FRIDAY, OCTOBER 23, 2009 THIS WEEK’S Forest products industry in decline QUOTE Sewer EXPERTS SAY MANY FACTORS CONTRIBUTED ‘Say what you have to JUST PRIOR TO RECESSION say, not what you loan in BY MATT SANDERSON try a challenge. quality lumber, railroad ties, pallets, ought.’ VILLAGER STAFF WRITER According to Joan Nichols, a certi- wood for fuel and mulch. Connecticut’s loggers, sawmill fied forester and president of the The primary woods products workers, timber harvesters, Connecticut Professional Timber industry in Connecticut employs foresters, firewood producers and Producers Association (Timpro), the 3,600 workers and contributes $500 works lumber truckers have been facing forest products industry has been million to the state’s annual econo- INSIDE mounting challenges over last few vital to Connecticut’s economy for a my. long time. Year and after year, the However, those in the industry say BY MATT SANDERSON years due to compounded contribut- VILLAGER STAFF WRITER A8-10— OPINION ing factors that have been making state’s forests produce and sustain a A12 — SPORTS the economic vitality of the indus- variety of wood products, including Turn To FOREST, page A11 THOMPSON — The Trinity Foundation, of the Marianapolis B1 — HOT SPOT Preparatory School, and the town B3 — CALENDAR are close to finalizing its mutual memorandum of understanding to B5 — OBITS move forward with the first phase of B6 — RELIGION Towns host fall festivities the proposed sewer connection proj- ect.
    [Show full text]
  • Ballet Excel Ohio Poise for Community Collaborations
    CUYAHOGA VALLEY ART CENTER WINTER 2019 • VOL. 6 BALLET EXCEL OHIO POISE FOR COMMUNITY COLLABORATIONS The Cuyahoga Valley Art Center revamped its Tuesday evening open studio live modeling sessions this past fall, via a collaboration with Ballet Excel Ohio. Mia Kilinger, founder of Ballet Excel Ohio, coordinated a beautiful array of dancers to pose for our artists on Tuesday Nights. “The dancers were able to choose what outfits they were able to wear,” stated CVAC director, Danielle Dieterich. “You could see the excitement in both the artists’ and dancers’ eyes. It was uplifting to have them posing in our gallery space. The artists were able to create beautifully inspired work thanks to this collaboration.” CVAC is thrilled to announce that they will be continuing this partnership for this upcoming Winter 2019 session. These Live Model Open Studio Sessions run for 8 weeks, starting January 15 from 6:30 - 9:00 pm on Tuesdays evenings. The cost is $5 per member and $10 per non-member. This collaboration was made possible via support from Peg’s Foundation. Model Emily Kavenagh (Above) Pastel by Mo Mosyjowski Model Bird from Magic Flute (Below) Sketch by Mo Mosyjowski CLASSES 3 NEW AT CVAC! 7 WORKSHOPS 8 EXHIBITS 10 EVENTS 2 AND 12 A MESSAGE FROM THE DIRECTOR Here at CVAC, we offer classes and workshops for all levels of artistic development covering topics such as: painting, drawing, ceramics, wood carving and mixed medias. These classes are offered four times a year by our esteemed faculty, many of whom are internationally known or world ranked.
    [Show full text]
  • The Path Is a Circle
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2006 The Path Is A Circle MaryLea Martin Harris Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Interdisciplinary Arts and Media Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/796 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. The Path Is A Circle Documentation submitted in partial fulfillment of the requirements for the degree of Master of Interdisciplinary Studies at Virginia Commonwealth University. MaryLea Martin Harris Virginia Commonwealth University MIS 2006 Sweet Briar College BA 1998 Virginia Commonwealth University Richmond, Virginia August, 2006 Table of Contents ... Artist's Statement The Path Is A Circle .........................................................111 Introduction............................................................................................ 1 Personal Aesthetics ...................................................................................1 Answering The Voice Within .......................................................................2 Painting .................................................................................................3 Combining Painting With Computer
    [Show full text]
  • Killingly Test 3-30 NEW.Qxt
    Mailed free to requesting homes in Brooklyn, the borough of Danielson, Killingly & its villages Vol. III, No. 51 Complimentary home delivery (860) 928-1818/email:[email protected] ‘Not the fastest horse can catch a word spoken in anger.’ Friday, October 9, 2009 Rec building meeting set BY MATT SANDERSON Prince Hill Road April 2008 because its for- an option instead of tear- VILLAGER STAFF WRITER Wednesday, Oct. 28, dur- mer headquarters on ing it down. The one bid BROOKLYN — A town ing a town meeting. The Prince Hill Road, conve- that was discussed, com- meeting was set and bids selectmen voted in niently located next to ing from Stone Brook were awarded on two September 2008 to raze the Donald Francis Builders, was for $56,100 town projects at the the building and again Recreation Park, was to replace the sheetrock, Board of Selectmen’s last February, and have infested with rodents and insulation, floors, base- meeting last Wednesday, set aside $10,000 in the termites and had water ment and roof. However, Sept. 30. budget to do just that. damage and a sagging the costs increased to Taxpayers will have The department had to structure. $77,000 when tacking on their say on the future of move to the Clifford B. Last week the select- the work needed to the the Parks and Recreation Green Memorial Center men reviewed bids to Department building on at 69 South Main St. in renovate the building as Turn To REC, page A11 Dodd tours Day Kimball Hospital BY OLIVIA BRAATEN VILLAGER CORRESPONDENT PUTNAM — Nearly a dozen administrators, physicians and nurses trailed behind U.S.
    [Show full text]
  • Art and Performances
    museumVIEWS A quarterly newsletter for small and mid-sized art museums July 2014 Cara Barer, Tie-dye, (detail) 2013, altered book: sculpted, dyed, and photographed. In “Adaptation,” Kalamazoo Institute of Arts, MI 1 Echoes of Black Mountain College In the year 1933, the Nazis forced the closing of Ger- many’s Bauhaus school. That same year, in Black Moun- tain, a small town in North Carolina, the Black Mountain College was founded by a classics scholar, John Andre Rice, and an engineer, Theodore Dreiser, with the intent of placing art-making at the heart of a liberal arts educa- tion. Expatriated teachers from the Bauhaus migrating to the U.S. were drawn to the progressive ideas put forward in Black Mountain. Among them was Josef Albers and his wife Anni. Josef became the leader of the art program; Anni taught textile design and weaving. Thus, the birth of Black Mountain as the “Shangri La” for avant-garde art. Other instructors from the defunct Bauhaus such as architect Walter Gropius and stage Katsushika Hokusai, Under the Wave off Kanagawa also known as the Great Wave, designer Xanti Schawinsky filtered South. American artists attracted Woodblock print; ink and color on paper. In “Hokusai,” Museum of Fine Art, Boston. MA included Jacob Lawrence and Robert Motherwell. And in the student body at some point were Cy Twombly and Robert Rauschenberg. Merce Cunningham’s dance company Say “Hi” to the Digital was formed here, and faculty member Buckminster Fuller made his first geodesic dome here. Docent Years passed successfully, Albers left to go to Yale as So now, to attract the millenials, we need interactive apps in museums.
    [Show full text]
  • General Information
    ART 309: Book Arts COURSE SYLLABUS COURSE DESCRIPTION ART 309: Exploration of book arts as a complete object that integrates content and form through narratives and/or sequential picture planes. Emphasis on elements of design and the principles of book planning and production. STUDIO AND RESEARCH PROJECTS Critiques and deadlines are mandatory. FACULTY Professor Martha Carothers [email protected] 018 Taylor Hall 302-831-0387 Office Hours: Wednesday 3:00 – 5:00pm / by appointment COURSE OBJECTIVES As a result of having taken this course students be able to: Understand and determine how a book is a container of selected content. Distinguish and define various aspects of a book in differing contexts. Discern and produce book structures and media appropriate to the content. RELATED ISSUES Students will utilize critical thinking skills to make decisions of why to create a book, what book to create, and how to create a book. The course is a hands-on overview of books arts including various aspects of book context, construction, and resource information about books. Students will create group and individual book projects as well as a coordinated research component. Course content involves both in class and out of class studio effort. Class periods include on campus field trips to the Morris Library, University Museum, and University Bookstore. The course will not to make students a professional or conservation bookbinder. Students will be able to utilize book construction methods after the course for other purposes (suite of prints, photographs, design, workshops with children). Students might develop an interest in further study of book arts at other institutions at the graduate level, (University of Arts, University of Alabama, University of Iowa, Corcoran College of Art and Design, Mills College, Scripps College).
    [Show full text]