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Latest Issue of Monthly Muse
View this email in your browser Featured Work: Three Generations William V. Cahill was born in 1878 in Syracuse, NY. He studied illustration at the Art Students League in New York City, maintained a studio in Woodstock, NY, and shared another studio in Boston, MA with John Hubbard Rich. In 1914, Cahill and Rich traveled to California together with the intention of exhibiting their paintings and establishing the School for Illustration and Painting in Los Angeles. Cahill and Rich successfully opened the school and taught there, but it closed after three years. While in Southern California, Cahill also taught at studios in Pasadena, Hollywood, and Laguna Beach. Author and art historian Nancy Moure wrote about the Laguna Beach artist enclave of the early to mid-1900s. “In the summer of 1918 there were between thirty and forty artists in Laguna Beach. The permanent population of about fifteen was swelled by regular summer artists as well as by those attending William Cahill’s summer class. The town, with a total citizenry of about 300, consisted of a hotel, a post office and a store, with board-and-batten cottages strung out to the north and south for a mile or two. Roads were dirt, Arch Beach had neither electricity nor natural gas, and there was only one telephone.” Cahill briefly taught drawing and painting at the University of Kansas in 1918, but by the following summer he was back in his studio in Laguna Beach. He and wife, Katharine, moved to San Francisco in 1920. That same year, Los Angeles Times art critic Antony Anderson described Cahill as “among the strongest and most progressive of our Los Angeles painters, with every indication that he will ultimately—and probably at no very distant day—rise to the very top. -
Lucille Clifton DAVID KRUMP Poetry Review Editor 113 Eavan Boland MEGHAN PUNSCHKE Interviewer 154 Galway Kinnell GRACE CAVALIERI
Lucille Clifton Galway Kinnell John Korn Drew Ernst Scott G Brooks Ignat Ignatov William Rose Ricky Garni ARDINES ARDINES VOLUME 1 ISSUE 3 WINTER 2008 MANY MORE! S S & & ORANGES ORANGES Cover Artist Drew Ernst CONTENTS Publisher / E.I.C. & DIDI MENENDEZ Creative Director interviews I. M. BESS Poetry Editor 00 8 Lucille Clifton DAVID KRUMP Poetry Review Editor 113 Eavan Boland MEGHAN PUNSCHKE Interviewer 154 Galway Kinnell GRACE CAVALIERI Micro Reviewers JIM KNOWLES art reviews GRADY HARP MELISSA M c EWEN 0 12 Rebecca Urbanski Art Reviewers CHERYL A. TOWNSEND 162 Joey D APRIL CARTER-GRANT Short Story Contributor KIRK CURNUTT poetry reviews 0 19 Andrew Demcak 0 37 Oliver De La Paz 127 Julia Kasdorf Copyright reverts back to contributors upon publication. O&S requests first publisher rights of poems published in future reprints short story of books, anthologies, web site publications, podcasts, radio, etc. Boy In A Barn (1935) This issue is also available for a 0 85 limited time as a free download from the O&S website: www.poetsandartists.com. Print copies available at www.amazon.com. For submission guidelines and further information on O & S, please stop by www.poetsandartists.com Poets Ricky Rolf Garni Samuels 16 98 Tara John Birch Korn 25 105 Nanette Rayman Jamie Rivera Buehner 32 130 Carmen Mary Giménez Morris Smith 45 138 Erica Maria James Litz Iredell 60 150 Stephanie Dickinson 72 Artists Jarrett Ignat Min Davis Ignatov 20 92 William Nolan Coronado Haan 26 100 Drew Angelou Ernst Guingon 38 122 Cathy Scott G. Lees Brooks 54 132 Patricia William Watwood Rose 66 144 Ben Aaron Hartley Westerberg 80 156 blank poetsandartists.com 8 ORANGES & SARDINES Grace Notes: & GRACE CAVALIERI INTERVIEWS LUCILLE CLIFTON Lucille Clifton is America’s sweetheart. -
The Art of Theodore F. Rose: Nineteenth Century Lithographer and Painter
International Journal of Art and Art History December 2016, Vol. 4, No. 2, pp. 11-26 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v4n2p2 URL: https://doi.org/10.15640/ijaah.v4n2p2 The Art of Theodore F. Rose: Nineteenth Century Lithographer and Painter Dr. Joseph H. Hall, IV 1 Abstract Theodore F. Rose is a late-nineteenth century lithographer and painter, who is little- known, as an artist, among both the general public and among professional art historians in even the Philadelphia-New Jersey area. He was a competent commercial lithographer being most well-known for his black and white illustrations of the beautiful homes and street scenes of the resort towns of the New Jersey Coast in the 1870’s. However, Rose was also an accomplished painter in oils, using a very dark palette, in almost exclusively outdoor settings, with the exception being at least one charming trompe l’oeil still life. I have been unable to link him to any of the early art training centers in Philadelphia in the nineteenth century. It is much more likely that he became apprenticed, or indentured, to a lithographer, working for one of the many printers or publishers in the city, where drawing and painting skills would have been developed as well. Rose had a very rough early life, losing family to disease, and serving in the United States Civil War. It is hypothesized that his melancholy background contributed to the somber, or threatening, atmosphere of his paintings. -
Comments of the Association of Medical Illustrators
Comments of the Association of Medical Illustrators Library of Congress U.S. Copyright Office [Docket No. 2015-01] Copyright Protection for Certain Visual Works The Association of Medical Illustrators (AMI) is the sole professional organization for the profession. All medical illustrators rely on the protections of copyright to protect the authenticity and integrity of their work. All rely on the divisibility of exclusive rights to earn their living. All have experienced substantial economic loss despite their utmost proactive actions to protect their rights. AMI is grateful that the Copyright Office is undertaking a much needed inquiry into the impact of current copyright law on visual artists. RESPONSES TO QUESTIONS SET FORTH IN THE FEDERAL REGISTER NOTICE The Most Significant Challenges Related to Monetizing and/or Licensing Graphic Artwork and Illustrations The challenges facing AMI members are the same as those for all graphic artists, particularly professional illustrators. However, the market for medical publications is smaller than for mass market publications with the result that purchase prices and subscriptions are especially high in comparison with the publishing industry in general. Further, the business environment for medical illustration has experienced two especially significant changes in recent years that create a much more hostile environment for licensing and monetization than in the past. These are: (1) the consolidation of the Scientific, Technical and Medical (STM) publishing industry with the result that a handful of giant multinational publishing companies control the conditions of licensing for medical illustration, and (2) the disproportionately extensive and rapid migration from print distribution to electronic distribution, often through site licenses offered by publishers and content aggregators to physicians, hospitals, clinics, universities and medical research institutions. -
Reginald Marsh's Wooden Horses
TEACHER RESOURCE Reginald Marsh (American, 1898–1954), School & Teacher Wooden Horses, 1936 Programs 1936; Tempera on board, 24 x 40 inches on board, Tempera 1936; Reginald Marsh (American, 1898–1954) Marsh (American, Reginald Horses, Wooden Fund, Archibald Thomas L. and Clark Archibald The Dorothy Fund, Purchase The American Paintings American Art, for Fund The Krieble Family 2013.1.1 Fund, Sumner Collection The Ella Gallup Sumner and Mary Catlin and / Artists Rights York New Marsh / Art of League, Reginald Students © 2015 Estate York New Society (ARS), “The best show is the people themselves.” —Reginald Marsh The Advent of Social Realism The Great Depression of the 1930s categorically altered the lives of the American people. As the stock market fell to unprecedented lows, citizens struggled to live and to provide for their families. Amid this atmosphere of panic, hopelessness, and uncertainty, artists responded by capturing the harsh realities of life in New York City as well as the leisure and entertainment activities that provided some means of escape. This artistic movement came to be known as Social Realism. While there were regional styles of Social Realism, the works almost always question the social structures that created and maintained the marginalization Museum of Art of the lower classes and simultaneously reference the vitality and resiliency of the people. Social Realism emerged from the complementary work of the proceeding Ashcan School. Those artists sought to realistically capture the gritty conditions of New York City’s crowded tenements, alleys, subways, and slums and such social outsiders as street urchins, alcoholics, and prostitutes. Many Ashcan School artists were former newspaper illustrators who transformed their art into a form of visual journalism that established an American identity during the era’s Wadsworth Atheneum Atheneum Wadsworth www.thewadsworth.org/teachers (860) 838-4170 economic crisis. -
NEWSLETTER 201514 PT Stone Sans Semi-Bold
Winter NEWSLETTER 201514 PT Stone Sans Semi-bold James Pearson Duffy Department of Art and Art History CONTENT Message from the Chair 2 Department News 3 Student News 7 Alumni News 12 Faculty News 21 Gallery News 28 Group Exhibitions 36 In Memory 39 This newsletter is a publication of the Wayne State University Department of Art and Art History. Students, alumni, and faculty members are invited to send exhibition announcements and other news to [email protected]. Photographs are furnished by Wayne State faculty, staff, students and alumni, unless otherwise noted. All images in this newsletter are copyright protected and may not be reproduced without permission. This newsletter is designed and edited by the James Pearson Duffy Department of Art and Art History staff. WE ARE ON THE WEB! Visit the Department of Art web site at www.art.wayne.edu. Our site contains announcements and special event information, Elaine L. Jacob Gallery and Art Department Gallery exhibition schedules, images of faculty artwork, academic information, and links to other university departments. 150 Art Building, Wayne State University, Detroit, Michigan 48202, or phone (313) 577-2980 Wayne State is committed to the policy that all persons shall have equal access to its programs, facilities, and employment without regard to race, color, creed, religion, national origin, sex, age, marital status, disability, public assistance status, veteran status, or sexual orientation. Cover Image: Work in progress by Samantha Russell, Portrait of a Mother/Portrait of an Artist, patina-soaked bronze, 9” x 6” x 4” Above: MAPC member participating in an Open Portfolio session during the MAPC conference in September Winter 2015 MESSAGE FROM THE CHAIR On behalf of the James Pearson Duffy Department of Art and Art History, I am pleased to share recent department news with you. -
Graduate Programs Each Student Has a Personal Workspace with 24-Hour Access, Seven Days a Week, 10 Months out the Innovative of the Year
Graduate Programs Each student has a personal workspace with 24-hour access, seven days a week, 10 months out The innovative of the year. Close interaction with other classmates, both social and work-related, forms an enduring MFA Illustration creative community that is an essential part of the artistic process. The required classes are only part of the curriculum; students can audit classes from as Visual Essay the diverse offerings in our undergraduate College, including film, animation, fine arts, and humanities and sciences, expanding the opportunities for devel- Department, oping a broader field in which to apply their talents. established in 1984, is deliberately designed as a Living in New York City gives students access to full-contact program for figurative artists. We ask a working artists, gallery shows, museum exhibitions great deal from you, beginning with a commitment to be and internships. And outstanding local professionals wholly engaged in the art of storytelling. This means serve as regularly scheduled guest speakers. It is not developing both your writing and your visual skills. In an inconsequential fact of life that these experiential return, we offer focused personal attention to deepen- advantages can lay a foundation for life as an artist. In ing your intellectual artistic process as well as cultivat- the second year, students are encouraged to choose ing your individual talents in drawing and painting. their thesis advisors according to their interests. Our This is a classroom-based curriculum, unlike many advisors, past and present, are as diverse as they are graduate programs where students are expected to work celebrated in their fields. -
Annie and WWII………..28-39 (Includes Handout Tests)
J e f f e r s o n P e r f o r m I n g A r t s S o c I e t y Presents A S t u d y C o m p a n I o n JEFFERSON PERFORMING ARTS SOCIETY 1118 Clearview Parkway Metairie, Louisiana 70001 Phone: 504 885 2000..Fax: 504 885 [email protected] 1 Table of Contents Teacher notes………………………………………………………………..……….3 Educational Overview………………………………………….………………..4 History………………………………………………………………………………..5-15 Lesson Plans Cartoon Scavenger Hunt……………...16-19 (includes handout) Forming Opinions………………………………………….………….. 20-21 'Toon Tic Tac Toe.…………………..……….22-24 (includes handout) Cartoon Symbol Bingo…………………..25-27 (includes handout) Little Orphan Annie and WWII………..28-39 (includes handout tests) Standards and Benchmarks: English…………………….………….40-41 Annie: The Play……………………………………………………………….…..42-44 Annie: the Songs………………………………………………..………………..45-51 NACAE Lesson Plan: Little Orphan Annie: Leapin' Through the Depression……………………………………………………………...…………..52-62 Standards and Benchmarks: English Language Arts……….…63 Annie: the History of the Production………………………………64-67 A n n i e: the Films 1982 & 2014…………………………….....………….…..68-86 Trivia, Bloopers and Quotes Standards and Benchmarks: theatre Arts………….……………87-89 Standards and Benchmarks: Music……………………………………90 Additional resources………………………………………………………..92 Image Retrieved From: http://cgi.ebay.com/Little-Orphan-Annie- BROADWAY-Orphans- 12_W0QQitemZ260058976576QQihZ016QQcategoryZ778QQrdZ1QQcmdZViewItem 2 Teacher notes Welcome to the JPAS production of Annie, directed by Lynne L. Bordelon. Annie is a spunky Depression-era orphan determined to find her parents. Annie’s parents abandoned her years ago on the doorstep of a New York City Orphanage run by the cruel, embittered Miss Hannigan. In adventure after fun-filled adventure, Annie foils Miss Hannigan and her evil helpers, befriends President Franklin Delano Roosevelt and finds a new family and home with billionaire Oliver Warbucks, his personal secretary, Grace Farrell, and a lovable mutt named Sandy. -
Undergraduate Thesis Which Combined My Interest of Art History and Art Conservation
THE ABC’S OF CARTON MOORE-PARK by Claire Martin A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Honors Bachelor of Arts in Art Conservation with Distinction Spring 2018 © 2018 Claire Martin All Rights Reserved THE ABC’S OF CARTON MOORE-PARK by Claire Martin Approved: __________________________________________________________ Vicki Cassman, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Melissa Tedone, Ph.D. Committee member from the Department of Art Conservation Approved: __________________________________________________________ Phillip Gentry, Ph.D. Committee member from the Board of Senior Thesis Readers Approved: __________________________________________________________ Paul Laux, Ph.D. Director, University Honors Program ACKNOWLEDGMENTS I am grateful to have had the opportunity to write an undergraduate thesis which combined my interest of art history and art conservation. I would like to thank my thesis director Dr. Vicki Cassman for always being there to listen and pushing me to do better. She has been my adviser through all of my undergraduate experience and her guidance has made me a better student. I do not believe I would have done as well as I did without her. I would also like to thank my second and third readers. Dr. Melissa Tedone was extremely patient and amazingly generous with her time over the summer of 2017 allowing me into her lab and helping me with the conservation of the Moore-Park objects. She is one of the best professors I have had a chance to work with. My third reader, Dr. Philip Gentry, was generous with his time and his input was invaluable. -
Our Proof Book
1 TURN YOUR DREAMS INTO REALITY We don’t just provide our students with the very best education we can. We also work hard to make sure they’re prepared for the creative industries and artistic communities they aspire to join. On your first day on campus, you’ll begin preparing for your future career. Our elite faculty and staff will help you build a professional portfolio, encouraging you to take risks while familiarizing you with the most advanced art and design technology around. All that hard work? It pays off. Turn the page to read real stories of real graduates working at real companies and making a real difference. We talk a lot about the incredible things our students do. Here’s the proof. Today’s booming creative economy is CREATIVE changing lives—rewriting tried and true 4.8 million Americans ideas about where people live and work ECONOMY and what they value most. Don’t take our are employed in the arts word for it. Many leading economists THERE’S SIMPLY NEVER now say that new ideas, rather than tech- BEEN A BETTER TIME TO nology or natural resources, will be the and cultural sector. BE A CREATIVE! true source of economic success in the coming decades. SOURCES: AMERICANS FOR THE ARTS, BUREAU OF LABOR STATISTICS, DATA USA, WORLD ECONOMIC FORUM $ Creative goods and The film and services contributed over cinematography $730 billion to the U.S. industry employs 1.91 The U.S. employs economy—up 32% in million people in the 72% of business leaders the past 15 years. -
Catalogue 13: the Book & Nothing but the Book [Terms]
brian cassidy brian cassidy booksellerbookseller cataloguecatalogue thirteenthirteen I II catalogue 13: the book & nothing but the book [terms]: Unless otherwise noted, items are original (meaning not facsimiles or reproductions) first editions (i.e. first printings, as applicable) and are guaranteed as described. Measurements are height x width in inches. Prices are in US dollars. All material subject to prior sale. Returnable for any reason with notification and prompt shipment within 30 days. Payment by check, money order (made out to Brian Cassidy), or wire; Visa, AmEx, MasterCard, Discover, and Paypal also accepted. Institutions may be accommodated according to their needs. Reciprocal courtesies to the trade. Shipping will be billed. MD sales tax added to appropriate purchases. [about]: Offers of books for sale or consignment are actively solicited, from single titles to entire collections. Specialties include art and artists’ book; popular culture; photography; esoterica; modern literature; poetry; musisc; the avant-garde; little magazines and small press; the Mimeo Revolution; the Beats; the New York School; manuscripts and archives; as well as vernacular, folk, and outsider books of all kinds. Search and want services available, as well as collection development and appraisals. We maintain offices in downtown Silver Spring, MD and welcome visitors by appointment; see website for details. We issue regular newsletters and catalogues, both print and electronic. Please email to be added to our mailing list. [offered by]: brian cassidy, bookseller 8115 fenton st. suite 207 silver spring md 20910 www.briancassidy.net [email protected] (301) 589-0789 (office) (301) 244-8868 (mobile/sms) copyright © 2018 Brian Cassidy (covers #23 outer, #75 inner) a dozen non- algorithmically- selected featured items: 1. -
Learn Adobe Illustrator CC for Graphic Design and Illustration: Adobe
LEARN Adobe Illustrator CC Illustrator Adobe for Graphic Designfor and Illustration LEARN ptg19258348 Adobe Illustrator CC for Graphic Design and Illustration Adobe Certified Associate Exam Preparation Dena Wilson and Peter Lourekas with Rob Schwartz From the Library of Gerard Raap LEARN ptg19258348 Adobe Illustrator CC for Graphic Design and Illustration Adobe Certified Associate Exam Preparation Dena Wilson and Peter Lourekas with Rob Schwartz From the Library of Gerard Raap LA E RN ADOBE IllUSTRATOR CC FOR GRAPHIC DeSIGN AND IllUSTRATION ADOBE CERTIFIED ASSOCIATE EXAM PREPARATION Dena Wilson and Peter Lourekas with Rob Schwartz Copyright © 2016 by Peachpit Press Adobe Press books are published by Peachpit, a division of Pearson Education. For the latest on Adobe Press books and videos, go to www.adobepress.com. To report errors, please send a note to [email protected] Adobe Press Editor: Victor Gavenda Senior Editor, Video: Karyn Johnson Development Editors (book and video): Bob Lindstrom, Stephen Nathans-Kelly Technical Reviewer: Chad Chelius Copyeditor: Kelly Anton Senior Production Editors: Becky Winter, Tracey Croom Compositor: Kim Scott, Bumpy Design Proofreader: Liz Welch Indexer: Rebecca Plunkett Cover & Interior Design: Mimi Heft Cover Illustration: Sylverarts, Fotolia.com NOTICE OF RIGHTS All rights reserved. No part of this book with video training may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. The images and media files provided for download are copyrighted ptg19258348 by the authors and Peachpit. You have the non-exclusive right to use these programs and files. You may use them on one computer at a time.