DOCSLIB.ORG

Krazy: the Black and White World of George Herriman Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Krazy: the Black and White World of George Herriman Free Download KRAZY: THE BLACK AND WHITE WORLD OF GEORGE HERRIMAN FREE DOWNLOAD Michael Tisserand | 560 pages | 12 Jan 2017 | HarperCollins Publishers Inc | 9780061732997 | English | New York, United States Krazy: George Herriman, A Life in Black and White With it's unique language and stark backgrounds, it set a standard for the time. The background in this one was fascinating. Herriman worked his entire career, trying every stylistic fad and quirk of genre, seeking a blockbuster smash like Mutt and Jeff or Barney Google, and he created numerous characters and strips in that quest. Is there anything remaining to be uncovered? The s were a period of tragedy for Herriman. His success with these syndicated strips convinced Herriman to give up on magazine submissions. Hearst let it be known that Herriman was to continue the strip as long as he liked. A native of nineteenth-century New Orleans, George Herriman came of age as an illustrator, journalist, and cartoonist in the boomtown of Los Angeles and the wild metropolis of New York. View all 7 comments. There is sadly no trenchant interpretation or literary analysis of Krazy Kat. January 9, [63]. Aug 15, Clayton rated it really liked it. This is especially true since Herriman seems never to have addressed his deception in his personal writings or confided his feelings about racial identity to family or friends. Fellow cartoonist Tad Dorgan nicknamed him "the Greek", a label which stuck and was taken up by his biographers and the press, who called him the son of a Greek baker. Herriman later bought the lot across the street and turned it into a public park. Michael Tisserand. Amateur Americanists will scrutinize Tisserand's bibliography more than the the biography itself, and come back with treasures. Ludwig Bemelmans R. I literally laughed and cried throughout this book because I wanted George to realize his worth, if only through my imagination. Krazy Kat has been collected in a variety of formats over the years, though Herriman's other strips have been less frequently reprinted. But, as I say, a nice work of biographing and definitely worth a read to people who love Herriman! Want to Read Currently Reading Read. December 7, [26]. George Herriman, like many another early newspaper cartoonist, came out of the sports page, where illustration ruled in the days before photography became ubiquitous: the camera might not be able to Krazy: The Black and White World of George Herriman the knockout punch, but the cartoonist could recreate it at his leisure. That's what makes it art, and that's what makes it good. John James Audubon Will H. Joe Bowler Edwin A. Stern, Alexander November 20, The research behind Tisserand's book is great. He presents Herriman, to the best of his ability, as his contemporaries saw him which, at times, was almost hero worship itself. In this interview, Richard Sala discusses his genre influences, style, and pop culture obsession. My grandfather died in the 's well before my birth in the 's, but I gave what little information I had of Krazy: The Black and White World of George Herriman and my family tree. When I was much younger and Krazy: The Black and White World of George Herriman countercultural sort of teenager I was really into "underground comics. Cummings, and P. The daily strip was short-lived, but the Sundays edition lasted three years. It's great to encounter a missing link, and this completely unknown piece of history is so clearly an influence on the "Looney Tunes" rerun world I grew up with. Inks: Cartoons Krazy: The Black and White World of George Herriman Comic Art Studies. A Savage Life. Herriman, a quiet spoken, kind and generous man who "passed" as white in an era of discrimination, could be an anarchist when it came to his strip. They might think about buying it anyway; what good's a koin if it doesn't buy a kat? It made him even more fascinating. A more rigorous editor could have pared this down to make the book a bit more enthralling and bring the illustrations to life in the reader's mind. He claimed he came from a family of bakers and had worked in his youth as a house painter and carnival barker. The desert, Navajo artwork, and Mexican pottery and architecture became more prominent in Herriman's strips, and he sometimes used Spanish vocabulary in the dialogue. Been doing a little research on the intersection of the comic strip and American consciousness in the early 20th century, when newspapers and radio ruled what most people knew. Tisserand's biography is also enlightening on two other questions that always bothered me - First, the author links Herriman's racial story to many of the themes in Krazy Kat, eg, the mysteries of identity, etc. Such a simple story, and yet so many complexities. Herriman delighted in absurd sight gags, non sequiturs, and dazzling but simple backgrounds often based on the Monument Valley rock formations he so loved. The first animated films starring a cat were produced by Hearst's International Film Servicethough without Herriman's direct involvement. Charles M. He and his valet Grimes would plot ways to get by. https://uploads.strikinglycdn.com/files/2de7c593-6808-477a-869a-ac7faa8c27a4/you-had-me-at-woof-how-dogs-taught-me-the-secrets-of- happiness-77.pdf https://cdn.shopify.com/s/files/1/0502/4648/4151/files/kazuyo-sejima-in-gifu-metropolitan-housing-studies-2002-53.pdf https://uploads.strikinglycdn.com/files/2c670db7-beab-42f0-98d0-6639aa2d4531/manias-panics-and-crashes-2015-a-history-of-financial- crises-1.pdf https://uploads.strikinglycdn.com/files/1316a939-ada9-4baa-8724-a767057e68f9/wisdom-and-healing-power-of-whole-foods-the-ultimate- handbook-for-using-whole-foods-and-lifestyle-c-63.pdf https://cdn.shopify.com/s/files/1/0500/1546/9732/files/the-rider-tarot-cards-57.pdf https://uploads.strikinglycdn.com/files/66e1e752-3faf-4382-99ae-7db7ce60d4c8/biblical-womanhood-a-good-book-guide-97.pdf.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Loac Essentials Volume 1 Baron Bean (Library of American Comics Essentials) Pdf, Epub, Ebook
    LOAC ESSENTIALS VOLUME 1 BARON BEAN (LIBRARY OF AMERICAN COMICS ESSENTIALS) PDF, EPUB, EBOOK George Herriman | 328 pages | 04 Dec 2012 | Idea & Design Works | 9781613774427 | English | United States Loac Essentials Volume 1 Baron Bean (Library Of American Comics Essentials) PDF Book Add links. This comic strip —related article is a stub. This book reprints the entire first year of daily comics. In The Family Upstairs the artist used the bottom part of each panel to narrate the stories of the Dingbats' pet, Krazy Kat, and a mouse named Ignatz, whose adventures were unrelated to those of the Dingbats. The unfortunate feline is in love with Ignatz, who does not reciprocate his feelings or her? Included inthis volume is the first year. In the late s, Sidney Smith developed a formula of the daily strip thatwould make The Gumps one of the most popular comics of thes and himself one of the richest …. Please update this article to reflect recent events or newly available information. The adventures take place in the kingdom of Moo, featuring Oop, his girlfriend Oola, and Dinny the dinosaur. Utgiven This item is not in stock. The strip's subtleties and surrealism never made it very popular with the public en masse, but it had an enthusiastic following among artistic and intellectual circles. The Amazing Spider-Man. But the artist's most ardent supporter was William Randolph Hearst. Here for the first time since the story made headlines across America in the spring of we reprint the saga that Hogan's Alley magazine called "One of the Ten Biggest Events in Comics History"-a tale that has lost none of its power to captivate readers in the 21st Century.
    [Show full text]
  • David Hare, Surrealism, and the Comics Mona Hadler Brooklyn College and the Graduate Center, CUNY
    93 David Hare, Surrealism, and the Comics Mona Hadler Brooklyn College and The Graduate Center, CUNY The history of the comic book in the United States has been closely allied with mass culture debates ranging from Clement Greenberg’s 1939 essay “Avant-Garde and Kitsch” to Fredric Wertham’s attack on the comic book industry in his now infamous 1954 book, Seduction of the Innocent. An alternative history can be constructed, however, by linking the comics to the expatriate Surrealist community in New York in the thirties and early forties with its focus on fantasy, dark humor, the poetics and ethics of evil, transgressive and carnivalesque body images, and restless desire. Surrealist artists are well known for their fascination with black humor, pulp fi ction, and crime novels—in particular the popular series Fantômas. Indeed, the image of the scoundrel in elegant attire holding a bloody dagger, featured in the writings of the Surrealist Robert Desnos (Color Plate 10), epitomized this darkling humor (Desnos 377-79).1 Pictures of Fantômas and articles on the pulp market peppered the pages of Surrealist magazines in Europe and America, from Documents in France (1929-1930) to VVV and View in New York in the early forties. By moving the discussion of the comics away from a Greenbergian or Frankfurt school discourse on mass culture to the debates surrounding Surrealism, other issues come to the fore. The comics become a site for the exploration of mystery, the imagination, criminality, and freedom. The comic book industry originated in the United States in the late thirties and early forties on the heels of a booming pulp fi ction market.
    [Show full text]
  • In 193X, Constance Rourke's Book American Humor Was Reviewed In
    OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism.
    [Show full text]
  • CFC Campaign Begins by DOROTHY COLEY the 2006 Combined Federal Campaign (CFC) Will Begin with a Staff Rally at 10 A.M
    LIBRARY OF CONGRESS Volume 17, No. 43 A Weekly Newspaper for the Library Staff October 27, 2006 CFC Campaign Begins By DOROTHY COLEY The 2006 Combined Federal Campaign (CFC) will begin with a staff rally at 10 a.m. on Wednesday, Nov. 1, in the Mumford Room, LM 649. This year’s theme is “Be a Star in Someone’s Life.” The “Kick-Off” is the launching point of the campaign, designed to motivate staff members to begin thinking about contributing to their favorite organizations, or to consider new charities that reach out and help others. A Navy Color Guard will open the event with pomp and presentation of the colors in a glitzy Hollywood setting, in keeping with the “be-a-star” theme. The Library has invited as a motivational speaker Tom Morris Jr., a segment producer for “America’s Most Wanted,” a FOX television network crime show. With a bachelor’s degree in mass communications from Norfolk State University (1980), Morris has worked as a print and broadcast journalist, a communications strategist for the Prince Georges County Economic Development Corporation, and as an antiterrorist security specialist for an Embassy Task Group. The Librarian of Congress, who serves as the campaign chairman, has appointed Bill Ayers, special assistant to the Exhibition “Cartoon director of Human Resources Services, as this year’s vice- chairman and director of the overall campaign. America” Opens Nov. 2 Ayers expressed enthusiasm for the campaign and riginal drawings by some of America’s best-loved cartoon- the good works it supports: “CFC benefits everyone in ists will appear in a new exhibition, “Cartoon America: the community in which we live and work.
    [Show full text]
  • Newfangles 31 1970-02
    I Number 31, February 1970. Monthly from Don & Maggie Thompson, 8786 Hendricks Rd., Mentor, Ohio 44060, for 100 a copy, 10 for $1, free copies for news, cartoons, title logos or other valuable considerations. Back issues (24 25 27-30) for 100 each. V-liile your wallet is out, we have a few copies left of a checklist of Dell ’’special series” titles (plus some others) at $1, plus 100 for a planned corrections list; and How to Sur­ vive Comics Fandom at 200. Circulation of Newfangles this issue: 307. No ad sheets again this Cartoon: month, but our giant Jefferson Hamill cellar-cleaning sale will be back soon. REISINGER RETIRES: Mort Reisinger, editor of Superman, Superbov, Action, Adventure, Lois Lane, Jimmy Olsen and 7. or Id ’ s Finest Comics, is retiring. His books are to be divided among the other National-DC editors. Details when we get them. A full rundown probably will be in the next Comic Reader. CIRCULATION figures are appearing (we need help on this: we never see the Archie, most DC, Charlton or Dennis the Menace books -- if you do, how about passing on the total avg. paid circulation figures?). In general, circulations are down for DC, holding pretty steady for Marvel, climbing for Charlton. Y.e discern no trend for sure with Gold Key, but it seems to be downward. Superman lost 124,416 from the 1969-published figure; Batman is down 177,668; World’s Finest is off 113,497; Tarzan is off 91,778; Jimmy Olsen lost 81,325. By remaining steady while others lost (down 951 from last year), Spider-Man has moved above Rorld1s Finest, Batman and Tarzan in circulation.
    [Show full text]
  • The Branagh Film
    SYDNEY STUDIES IN ENGLISH DEPARTMENT OF ENGLISH UNIVERSITY OF SYDNEY Volume 36, 2010 PENNY GAY: ‗A Romantic Musical Comedy‘ for the Fin-de-Siecle: Branagh‘s Love’s Labour’s Lost 1 BEN JUERS: Slapstick and Self-Reflexivity in George Herriman‘s Krazy Kat 22 JULIAN MURPHET: Realism in The Wire 52 LUKE HARLEY: An Apollonian Scream: Nathaniel Mackey‘s Rewriting of the Coltrane Poem in ‗Ohnedaruth‘s Day Begun‘ 77 REBECCA JOHINKE: Uncanny Carnage in Peter Weir‘s The Cars That Ate Paris 108 77 PETER KIRKPATRICK: Life and Love and ‗Lasca‘ 127 MARK BYRON: Digital Scholarly Editions of Modernist Texts: Navigating the Text in Samuel Beckett‘s Watt Manuscripts 150 DAVID KELLY: Narrative and Narration in John Ford‘s The Searchers 170 Editor: David Kelly Sydney Studies in English is published annually, concentrating on criticism and scholarship in English literature, drama and cinema. It aims to provide a forum for critical, scholarly and applied theoretical analysis of text, and seeks to balance the complexities of the discipline with the need to remain accessible to the wide audience of teachers and students of English both inside and outside the university. Submissions of articles should be made online at http://escholarship.library.usyd.edu.au/journals/index.php/SSE/about/sub missions#onlineSubmissions Each article will be read by at least two referees. Sydney Studies in English is published in association with the Department of English, University of Sydney, NSW 2006, Australia. Visit the Department‘s homepage at: http://sydney.edu.au/arts/english/ ISSN: 0156-5419 (print) ISSN: 1835-8071 (online) Sydney Studies in English 36 Special Edition: The Texts of Contemporary English Studies This volume of Sydney Studies in English is concerned with the changing nature of the text for the study of English.
    [Show full text]
  • An Aesthetic History of Comics Instructor: Dan Nadel
    NACAE National Association of Comics Art Educators An Aesthetic History of Comics Instructor: Dan Nadel This is a class about comics as a medium for expression. It focuses on the aesthetics of comics on and beyond the page. Comics are usually taught in terms of its dominant genres (superhero) and characters (Superman, etc.). This class will cover that history minimally, in favor of a strong focus on comics as a mode of expression (discussing drawing/mark making, storytelling mechanics) and as a graphic/commercial culture that defined many pop cultural icons/idioms and in turn influenced fine artists. This course will attempt to place comics firmly within the context of visual culture in general while continually arguing for the relevance and power of the printed image. Semester-long readings: Tom De Haven: Derby Dugan’s Depression Funnies, Dugan Goes Underground Kim Deitch: Boulevard of Broken Dreams McSweeney’s 13 Steven Milhauser: Little Kingdoms Patrick McDonnell, et al, Krazy Kat: The Comic Art of George Herriman Dan Raeburn: The Imp 4 This document is free for non-commercial educational use. See http://www.teachingcomics.org/copy.php for complete copyright information. NACAE National Association of Comics Art Educators UNIT 1: INTRODUCTION Week 1: Overview Historical and thematic overview of the course. Initial discussion: Reasons, interests, favorites, requests. Reading: Art Spiegelman, “Comix: An Idiosyncratic Historical and Aesthetic Overview,” 1988, in Comix, Essays, Graphics and Scraps. Chris Ware, Introduction to McSweeney’s 13. Handout with comics and odds and ends from DN Viewing: The University of Brighton’s Comics resource: http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComics.html UNIT 2: HISTORIES I Week 2: Artful beginnings Modern comics begin in the mid 19th century with the Swiss fine artist Rudolf Topffer, who created nonfiction and satiric graphic novels, and continues with Wilhelm Busch and numerous German artists who expanded the comics vocabulary.
    [Show full text]
  • Featuring Herblock! with Holly Krueger 11/12/2010
    Featuring Herblock! With Holly Krueger 11/12/2010 Featuring Herblock! CtCartoon an d Illustration Collections at the Library of Congress James Gillray George Cruikshank The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 1 Featuring Herblock! With Holly Krueger 11/12/2010 Ben Franklin The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 2 Featuring Herblock! With Holly Krueger 11/12/2010 Paul Revere W.T. Benda • The Nightmare Room bAby A. Conan Doyle The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 3 Featuring Herblock! With Holly Krueger 11/12/2010 Charles Dana Gibson The Weaker Sex published 1903 in Collier’s Weekly John Held Life cover 1923 The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 4 Featuring Herblock! With Holly Krueger 11/12/2010 Jesse Willcox Smith The Water- babies Art Wood award winning cartoonist and collector The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 5 Featuring Herblock! With Holly Krueger 11/12/2010 Treasures of Disney animation Bud Fisher 1914 The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 6 Featuring Herblock! With Holly Krueger 11/12/2010 Alex Raymond Flash Gordon Winsor Mckay Little Nemo The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 7 Featuring Herblock! With Holly Krueger 11/12/2010 George Herriman Krazy Kat Chic Young On to Niagara 1933 The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 8 Featuring Herblock! With Holly Krueger 11/12/2010 The Brodsky Series for Library Conservation, 2010. Syracuse University Library. 9 Featuring Herblock! With Holly Krueger 11/12/2010 David Levine Covarrubias Freud analyzes Jean Harlow The Brodsky Series for Library Conservation, 2010.
    [Show full text]
  • Repetition. Sound. Appropriation
    REPETITION. SOUND. APPROPRIATION. by DERIK A BADMAN NOTES: Repetition 1- 5: I was reading a book about filmmaker Jean-Luc Godard, and the author said something about focusing attention in film. How you can leave the camera rolling on a scene and the viewer will be forced (unless they just stop watching at all) to focus their attention onto the scene, much more so than the usual cuts and movements. These variations are partially inspired by that and partially by my interest in repeated panels in comics. The image is a slightly edited (characters removed) panel from Frank King’s “Gas- oline Alley.” The text in part 3 is from Barbara Wright’s translation of Raymond Queneau’s “The Sunday of Life.” Here, and through- out, my use of appropriated imagery or text is an attempt to provide some kind of control factors for my experiments. Sound 1-2: Variations on representing music in comics. The image is my redrawing of a photo of Robert Johnson. The music in panel 2 and the lyrics in panel 6 are from Robert Johnson songs. Comic Strip Rapture: I’ve been wanting to do an all landscape comic for quite awhile. This is a series of appropriations from vari- ous comic strips, which I redrew without the characters. Redrawing these was difficult, as the main focus of all these panels was origi- nally characters, and without them, the compositions and balance are occasionally off. Sources (in order): Frank King’s Gasoline Alley, Harold Gray’s Little Orphan Annie, Charles Schulz’s Peanuts, ditto, Roy Crane’s Wash Tubbs and Captain Easy, E.C.
    [Show full text]
  • The Studio Museum in Harlem Winter/Spring 2011 Where Black Art
    THE S T UDIO MUS UDIO E UM IN HARLE IN UM The Studio Museum in Harlem M W INTER/SP R IN G 2011 G WHERE BLACK ART ART BLACK WHERE THE CONVERSATION ISSUE Featuring Perspectives from: Mark Bradford Stephen Burks 2010-11 Artists in Residence Dr. Lowery Stokes Sims Sharifa Rhodes-Pitts And more! WINTER/SPRING 2011 THE S T UDIO MUS UDIO E UM IN IN UM HARLE The Studio Museum in Harlem M W IN TER/ SP R IN G 2011 G WHERE BLACK ART ART BLACK WHERE THE CONVERSATION ISSUE Featuring Perspectives from: Mark Bradford Stephen Burks 2010-11 Artists in Residence Dr. Lowery Stokes Sims Sharifa Rhodes-Pitts And more! WINTER/SPRING 2011 STUDIO MAGAZINE ON THE COVER Editor-in-chief BOARD OF TRUSTEES This issue of Studio is underwritten, in Elizabeth Gwinn Chairman part, with support from Bloomberg Raymond J. McGuire Creative Director Thelma Golden Vice-Chair The Studio Museum in Harlem is Carol Sutton Lewis supported, in part, with public funds Managing Editor provided by the following government Treasurer agencies and elected representatives: Allison Channing Jones The New York City Department of Rodney M. Miller Cultural Affairs; Assemblyman Keith L. Associate Editor T. Wright, 70th A.D.; New York State Dominic Hackley Secretary Council on the Arts, a state agency; Teri Trotter Institute of Museum and Library Editor-at-Large Services; National Endowment for the Arts; The City of New York; Council Lea K. Green Jacqueline L. Bradley Member Inez E. Dickens, 9th C.D. and Valentino D. Carlotti Speaker Christine Quinn and the New Contributing Editors Kathryn C.
    [Show full text]