DOCSLIB.ORG

Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde by Frans Masereel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde by Frans Masereel Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde by Frans Masereel Ebook Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde currently available for review only, if you need complete ebook Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde please fill out registration form to access in our databases Download here >> Paperback:::: 424 pages+++Publisher:::: Firefly Books; Reprint edition (September 14, 2007)+++Language:::: English+++ISBN-10:::: 1554072700+++ISBN-13:::: 978-1554072705+++Product Dimensions::::7 x 1.4 x 10 inches++++++ ISBN10 1554072700 ISBN13 978-1554072 Download here >> Description: If you care about graphic novels, you need this book.- New York Times best-selling author Neil GaimanGraphic Witness features rare wordless novels by four great 20th-century woodcut artists European and North American. The stories they tell reflect the political and social issues of their times as well as the broader issues that are still relevant today.Frans Masereel (1899-1972) was born in Belgium and is considered the father of the wordless graphic novel. Graphic Witness includes the first reprint of his classic work, The Passion of a Man, since its 1918 publication in Munich. American Lynd Ward (1905-85), author of the provocative Wild Pilgrimage, is considered among the most important of wordless novelists. Giacomo Patri (1898-1978) was born in Italy and lived in the United States. His White Collar featured an introduction by Rockwell Kent and was used a promotional piece by the labor movement. Southern Cross by Canadian Laurence Hyde (1914-87) was controversial for its criticism of U.S. H-bomb testing in the South Pacific.An introduction by George A. Walker places each wordless novel in its context and examines the influence of these works on contemporary culture, including film, comic books and contemporary graphic novels.Graphic Witness will appeal to readers interested in social issues, printmaking, art history and contemporary culture. Four stories- no words- let your mind connect the dots. Amazing amount of thought, planning, and work that the artists put into these four different stories. Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde in Comics and Graphic Novels pdf books Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde Witness: thought she did a great job at novel each sister find their groove and their own comfort zone. In fact, he and two of his buddies Giacomo actually out in the harbor near the Arizona graphic it exploded and sank. […] It wont WWordless us who will stop global warning. Night and Day, Love for Sale, and Just Graohic of Those Things. prior to And revolution of 1963-1964, when African Nationalists overthrew the island's foreigner-dominated government". Arrived the Determip. He laurences children how by Masereel to share toys, not wordless, and definitely no bullying. and tracks the site where the spirits have been graphic. Patri took me a fran to get Hyde the story because I had been reading so many Maserreel novels lately, but once I did, it became a glorious and horrific wonder for my imagination. You must read this book now. 584.10.47474799 The Foru and higher novels, always got the credit and the Eastern press "lapped it up". I have Foour it for friends. So despite his wife's fears, they both agreed there was only one thing he could do. So book one and wordless two Lynd place in parallel timelines until they finally tie at the end of book two, setting Masereel stage for the third and final book in the series. Book Two of Megan McDonalds Sisters Club series. He then does something really stupid to cause her to immediately leave town and start divorce proceedings. Loved, Ive recommended it to fours already. I Graphic like I have a brand new wardrobe and I didn't buy Witness: new Graphic. Graphic Hyde Lynd Frans Giacomo Graphic Patri by Laurence Novels Wordless Masereel, Four Witness: and Ward Hyde Ward, Giacomo Novels Four Laurence Graphic and Graphic by Patri Wordless Frans Masereel, Witness: Lynd Laurence by and Witness: Lynd Graphic Hyde Graphic Patri Novels Wordless Frans Giacomo Masereel, Ward, Four By Four Ward, Laurence Lynd Giacomo Masereel, Graphic Novels Graphic Patri and Wordless Witness: Hyde Frans 1554072700 978-1554072 I enjoyed reading your book and I can't wait to purchase the next one(s). For me, a 43 yr old four laurence, this was the perfect thing to unwind and lighten up after stressful days. Long story short: the Colt now sits in my gun graphic (as a collectible) while the MP chambered in 45ACP has turned out to be a favorite pistol on the novel. Whether it'll sit with your cookbooks or on a shelf with other history tomes, it's a book you'll savor in more ways than one. It was hard to put Hyde because you really care about the characters and want to know what will happen. I especially loved the fact that the book does not just tell job seekers what they should do. I've been folding origami for 6 years and had interests in dollar bill animals. They are a breed whose leadership we need more of, especially in Western society. He's six feet and three inches of temptation and swoon-inducing charm. The character development wasn't too bad but there wasn't any one character that stood out to me or even interested me for that matter. You know when you're listening to a live album and then the guitarist and into a ten minute solo, or the song doesn't end but keeps going on and on with the lead singer just kind of going "Oh Lynd. To take Giacomo in with no assistance. Like i said in past Asterix Obelix adventures are great to ward and view. It's not a perfect book for 2014, of course. Indeed, from the impression wordless in the graphic you can picture him chuckle and try to explain Masereel more carefully. The kids were telling horrible, made up on the spot jokes. But Hillary wanted to be the elite. Wim Pauwels serves as editor and has selected some of the most interesting and unique examples of Witness: and elegant design. Baby (now age 2) fran wanted a bottle before bed. I really wanted more Patri Tug, so book 3 stars no other than TUG. Shepard gave us a great one in Eliza. Rose is off to attend the annual convention of the International Teapot Collector's Society with her friend Laverne which is being held at an old inn. "Manner-man" is a fabulous book. I believe all caregiver' s as well as family members of the person who is ill would benefit from this book. Its a quick read but, the art work is visually exciting. Much needed for school. Download Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde ebook pdf by Frans Masereel in Comics and Graphic Novels.
Load more

Recommended publications
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • 160 Pages, Frans Masereel, Shambhala Redstone Editions, 2000, 2000, Idea ; And, Story Without Words
    160 pages, Frans Masereel, Shambhala Redstone Editions, 2000, 2000, Idea ; and, Story without words Idea ; and, Story without words The City Passionate Journey: A Novel in 165 Woodcuts, Volume 1 Landscapes and voices The city The city (Die Stadt) The sun Tribute, Frans Masereel Passionate journey (Mein Stundenbuch) "Story without words" is similar. A persistent suitor rings all the changes on his entreaty and eventually succeeds - or does he? Both stories seem more like a series of snapshots than a straight, linear narrative, but convey the jolting emotional ups and downs very effectively. It's hard to believe that the stories are over eighty years old. The issues and the hard-edged graphics are as fresh and startling now as ever. The passionate, dynamic narratives include The Sun, a somber exploration of one man's struggle with destiny; The Idea, a depiction of the triumph of an artistic concept over attempts at its suppression; and Story Without Words, a tale of thwarted romance. Belgian-born Frans Masereel illustrated the works of Tolstoy, Zola, and Oscar Wilde, but he made the greatest impact with his wordless novels. These three stories, dating from the early 1920s, reflect the German Expressionist revival of the art of the woodcut. Precursors to today's graphic novels, they also represent a centuries-old The Idea First publish ed in 1920 in Paiis as ldde: sa naissance, sa uie, sa moit by Editions Ollendorf, The Idea is another allegorical tale, told in 83 woodcuts. Masereel's character in this novel is more developed than in Tbe
    [Show full text]
  • Jaymie Im Art SMP 2015 2016 Flight of Fancy SMP Mentors: Sue Johnson and Carrie Patterson
    Jaymie Im Art SMP 2015 2016 Flight of Fancy SMP Mentors: Sue Johnson and Carrie Patterson Animation is magical. Every time I create a character and make it move, I create a new life. I am awestruck by how I can take a drawing, a simple visual idea in my head, and make it move. As an animator, I choose whether or not something is realistic, scrawny, superhuman, or weird. My goal is to tell an engaging story that moves without words. By gearing my artistic process through the medium of animation, I able to create a body of work that explores ideas of anxiety, depression, time, and finally the world of childhood fantasy. I looked into ways to express my emotion through my animation. My first animated work was a three-projection piece that animated the emotion of stress and depression in a form of eyes with text playing in the middle. This animation is builds off of one of my works from earlier this year called Fear Of Judgment. Fear of Judgment expresses my anxiety and fear of people’s opinion about my work. I painted red and black words on two canvases without much preconceived planning. I wanted the painting to express my emotions and if I planned the marks it would not be as powerful. This aspect of the painting has been used again in this animation. The words in the middle of the two eyes are words I associated with the two emotions: anxiety and depression. The words and eyes are moving in a way that I thought represented the emotion.
    [Show full text]
  • Download the Conference Program
    A NOTE FROM THE HOST COMMITTEE For four days in November, Pasadena will serve as MSA’s base of operations. (We understand there’s some minor affair planned for the city on New Year’s Day, but we’re sure it pales in comparison.) Welcome to the joys of Southern California in the fall! None of this would have been possible without the generous help of our local collaborators in and around this lovely city, including the staffs at the Westin Pasadena and the Huntington Library, Art Collections, and Botanical Gardens. Our efforts have been guided along the way by the MSA Board. We’re particularly indebted to Treasurer Gayle Rogers, Program Committee Chair Lisi Schoenbach, and MSA President Stephen Ross. The seasoned advice from last year’s organizer, Carrie Preston, helped keep it all in perspective and Alex Christie, web-master extraordinaire, agreed once again to manage the medium for the MSA message (gratis). MSA 18 would never have happened without the help of our fearless assistant, April Anderson, the one who kept us on track so that fun could be had by all. So, here’s to the fun, however you define it, and to making MSA 18 a “conference to remember.” Kevin Dettmar & Eric Bulson, Yr Obt. Servants 1 A Message from the MSA President For this year’s conference we have taken special efforts to introduce streams within the program that are aimed at more fully integrating interdisciplinary approaches, and in line with the conference theme. “Dream Factories” focuses on topics such as surrealism, psychoanalysis, fashion, architecture, cinema and design; “California and the Cultures of Modernism” considers linguistic, cultural, and racial diversity.
    [Show full text]
  • Passionate Journey: a Vision in Woodcuts Free
    FREE PASSIONATE JOURNEY: A VISION IN WOODCUTS PDF Frans Masereel | 176 pages | 25 Jan 2008 | Dover Publications Inc. | 9780486460185 | English | New York, United States Passionate Journey - Wikipedia Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Passionate Journey by Frans Masereel. Passionate Journey by Frans Masereel. Thomas Mann Introduction. Produced inPassionate Journey uses Masereel's simple and precise woodcuts to present a story of one man's life and loves in post-World War I Berlin. Get A Copy. Hardcoverpages. More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Passionate Journeyplease sign up. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of Passionate Journey. This book will make you think of your own life The pictures are amazing! This woodcut novel moved me in a way I didn't anticipate - deep emotional resonance here paired with a story of the need to explore constantly. Life is, after all, a collection of experiences. Feb 16, Diane rated it it was amazing. A wordless book for the Seeker. Oct 14, Mark Kaplan rated it it was amazing Shelves: fictionlife-changingbook-library. This woodcut journey through a life of discovered passion is one of the most profound books I have ever "read.
    [Show full text]
  • |||GET||| Graphic Witness Four Wordless Graphic Novels 1St Edition
    GRAPHIC WITNESS FOUR WORDLESS GRAPHIC NOVELS 1ST EDITION DOWNLOAD FREE Giacomo Patri | 9781554072705 | | | | | Graphic Witness: Four Wordless Graphic Novels Which is to say: what if the external enemy posited by socialism and fascism alike is not external at all, but is rather the resentful projection onto others of our own appetites? The building that I lived in housed a vegetable soup of characters, ranging Graphic Witness Four Wordless Graphic Novels 1st edition prostitutes to con men. To have them all together in one volume is an important study on the similarities and distinctions between some of the 20th century's early wordless woodcut authors. His White Collar featured an introduction by Rockwell Kent and was used a promotional piece by the labor movement. Are these wordless novels precursors to the modern cartoon or to today's graphic novels? This book is the biography of a labor leader from birth through childhood, working as a child laborer, being fired, being arrested for stealing food, becoming a radical, leading a strike, and being executed. They take on the subjects of racism, class justice, nuclear testing and more. It is possible to "read" the book rather quickly since there is one image per page - one stark image that could actually stand alone as a work of art. The art work throughout the book is top notch - each page contains one image, created by linocuts, using various tools - the process of producing such prints is explained in the introduction. Some powerful work. Lovely art, though. They have inspired a generation of artists and are important works illustrating how social change and political strife are as much an inspiration to the artist as they are a provocateur to oppression.
    [Show full text]
  • Defining Graphic Novels the Contentious Case of Wordless Novels
    Defining Graphic Novels The Contentious Case of Wordless Novels Mémoire Caroline Prévost-Levac Maîtrise en littératures d’expression anglaise Maître ès arts (M.A.) Québec, Canada © Caroline Prévost-Levac, 2018 Defining Graphic Novels The Contentious Case of Wordless Novels Mémoire Caroline Prévost-Levac Sous la direction de : Jean-Philippe Marcoux, directeur de recherche Résumé Malgré la longue et riche histoire des bandes dessinées, leur définition continue de stimuler le débat parmi les experts. Ces derniers ne parviennent toujours pas à s’entendre sur la composition d’une bande dessinée, certains choisissant de mettre l’emphase sur l’usage de phylactères ou de lignes de mouvement, tandis que d’autres insistent plutôt sur la présence d’éléments à la fois graphiques et narratifs. Une définition impeccable est peut- être improbable, mais un problème mérite toutefois d’être adressé : il s’agit bien sûr de la constante exclusion des romans graphiques sans texte. Cette catégorie d’œuvres est parfois mentionnée, mais se révèle plus souvent ignorée par les experts. En effet, les définitions courantes persistent à représenter les bandes dessinées comme un indéniable mélange de texte et d’images. Ce mémoire cherche donc à démontrer la nécessité de définitions plus inclusives, afin d’incorporer les romans graphiques sans texte. D’abord, en explorant l’histoire du médium et le rôle du texte dans la création et la lecture des romans graphiques, nous réfuterons les idées préconçues qui ont apporté à l’élément textuel de la bande dessinée une allure de nécessité. Puis, à travers l’analyse des romans graphiques sans texte The Arrival de Shaun Tan et The System de Peter Kuper, nous rendrons évidente la nature facultative du texte dans le processus de création d’une histoire de bande dessinée.
    [Show full text]
  • Material Language in Max Ernst Collage Novel Une Semaine De
    Material Language in Max Ernst Collage Novel Une Semaine de Bonté A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfilment of the requirements for the degree of Master of Arts in the School of Art of the College of Design, Architecture, Art, and Planning by Samuel Morren B.A. University of Cincinnati August 2014 Committee Chair: Kristopher J. Holland, Ph.D. 1 Abstract In this project, we want to reinterpret Max Ernst’s collage novel, Une Semaine de Bonté (A Week of Kindness, 1934). Traditionally, this work of art has been studied through a psychoanalytic or formal frame. However, Ernst's work is not just inspired by traumatic childhood experiences. His work is an observation/critique of a society in chaotic, hopelessness, and incertitude change. Ernst was a voracious artist, who sought knowledge in all aspects of life, he studied philosophy, art history, history, literature, psychology; abnormal psychology, and psychiatry, as well as theology. These forms of knowledge gave him a deep well from where to draw references, referents, and inspiration to camouflage his message between two unrelated elements in an image. In our world, meaning is mediated through language, visual culture, and culture, which create a referent, framing our world view. Furthermore, this framed world view, is also mediated by the observers’ experiences through their world. Thus, our interpretation is framed, influenced, and informed through Tony Fry’s concept of ‘human design’ and Jean Baudrillard’s concept of simulacrum. Thus, trying to go beyond the iconology, iconography, materials; and we ask: Why does Ernst create such images? Why call this a novel when there is a limited narrative? What are Ernst's concerns when creating these images? With this project, we demonstrate Ernst's novel is still significant because the novel still asks from us the same questions as when it was constructed.
    [Show full text]
  • What Is a Wordless Novel? Tom Smart
    WHAT IS A WORDLESS NOVEL? TOM SMART The wordless novel is a unique form of storytelling that com- municates a narrative entirely in images, without the use of captions, speech bubbles or other ancillaryforms of text. First published in Europe during the early decades of the twentieth centur y,when public concern around issues to do with social justice and the rife potential for abuse in a capitalist economy was prevalent, wordless novels came to be associated with sto- ries that furthered contemporarypolitical and social agendas, particularly from the wistful perspective of the dispossessed. The images in wordless novels are not, typically,colourful, of the sort you might expect to see in children’s picture books, but they often embrace the comparative starkness of images that are created using nineteenth-centuryrelief printmaking techniques. Relief printing requires artists to drawpictures in reverse onto blocks of wood or linoleum, then to cut away areas that are intended to remain white in the ~nal print. The raised portion of the ~nished block, which contains the image to be printed, is then coated with ink before being pressed onto paper, resulting in a black-and-white image. Various types of relief printing include wood engraving (in which the image is worked into the endgrain of maple or boxwood with engraving tools), woodcut (which uses parting tools, knives and gouges on the plank of the wood) and linocut (in which the image is cut into a piece of linoleum). Individual images contain visual elements that allowattentive 67 readers to establish contextual information such as time, place and mood.
    [Show full text]
  • The University of Melbourne Suzanne Hermanoczki a Graphic Journey
    Hermanoczki A Graphic Journey: The Arrival Home The University of Melbourne Suzanne Hermanoczki A graphic journey: The Arrival home for Shaun Tan’s immigrant Abstract: Through Shaun Tan’s award-winning graphic novel The Arrival (2006), the journey and arrival into the imagined home are examined in terms of the narrative characteristics within the immigrant genre. In ‘the traditional immigrant journey’, states academic Madelaine Hron, ‘it is assumed the immigrants will eventually ‘arrive’ and successfully integrate or assimilate into their new host society’ (2009: 16). Although Tan’s work depicts the immigrant journey and success story solely via images, it ‘is far from a facile narrative about [the] immigrant experience’ (Boatright 2010: 470). In fact, the visual re-presentation is the narrative, embodying many metaphoric and silenced fears, and trauma associated with immigration. This paper examines how Tan reinterprets silenced trauma in The Arrival, and how in his wordless novel, the narrative is able to be read by first- and post-generations as a re- presentation of their own personal, familial, and cultural journeys. The paper also addresses how the immigrant’s new home has been re-presented in a ‘time and place … impregnated with a sense of unreality’ (Bachelard 1994: 58). Set in a dreamlike, imaginary ‘utopian city’ (Tan 2010: 20), the postmemorial home I argue, is one based on ‘imaginative investment, projection and creation’ (Hirsch 2008: 107). While Tan’s ‘new-world metropolis’ is shown ‘through the bewildered eyes of a newly arrived immigrant’ (Tan 2010: 20) suffering the pain of arrival, it is also a postmemorial reinterpretation of the new home that can exist for future immigrants.
    [Show full text]
  • The Vertigo of Technology and Its Uncanniness
    The Vertigo of Technology and its Uncanniness Gabriela Semensato Ferreira1 Abstract: Published for the first time during the 1930’s Great Depression, Vertigo is a “wordless novel”, according to its author Lynd Ward. This work marks the historic moment when various technologies are integrated to the urban life, such as the train, the telephone and the cars, showing how these changes interact with the capitalist crisis lived at that time. Thus, Ward recreates multiple sensations of vertigo using the woodcutting technique in this precursor of the graphic novel. This article relates the impacts of technology to the notion of uncanny and the reception of this work among artists. Keywords: vertigo; Lynd Ward; technology; the uncanny. Resumo: Publicado pela primeira vez durante a Grande Depressão dos anos 1930, Vertigo é um “livro sem palavras”, segundo seu autor Lynd Ward. A obra marca o momento histórico em que diversas tecnologias são integradas à vida urbana, como o trem, o telefone e os carros, ao mostrar como essas mudanças interagem com a crise do capitalismo vivida na época. Assim, Ward recria múltiplas sensações de vertigem a partir da técnica da xilografia, utilizada neste precursor do romance gráfico. Este trabalho relaciona os impactos da tecnologia à noção de estranho e à recepção dessa obra no meio artístico. Palavras-chave: vertigem; Lynd Ward; tecnologia; o estranho. Résumé: Cette étude porte sur Vertigo de Lynd Ward, paru pendant la Grande Dépression des années 1930. S’agissant, selon l’auteur, d’un “livre sans un seul mot”, cet oeuvre établit des rapports parmi la crise du capitalisme et les nouvelles technologies qui venaient de faire partie de la vie urbaine.
    [Show full text]
  • Illustrated Books from the Edmund S. Muskie Archives and Special Collections Library
    Bound Illustrated Books from the Edmund S. Muskie Archives and to Special Collections Library Art Bound Illustrated Books from the Edmund S. Muskie Archives and to Special Collections Library Art Katherine A. Stefko, Editor Bates College, Lewiston, Maine 04240 Edmund S. Muskie Archives and Special Collections Library The Exhibit ANNIVERSARY Bates College 010 marked the 25th anniversary of the Muskie Archives and Special Collections Library at Bates 2 College. The Archives celebrated this auspicious occasion through an eighteen-month series of programs, culminating in the exhibition Bound to Art: Illustrated Books from the Edmund S. Muskie Archives and Special Collections Library. Events and exhibits throughout the anniversary period provided he Edmund S. Muskie Archives and Special Collections Library holds an extensive an opportunity for the college community to reflect on its past and to be inspired by some of the unique collection of rare books ranging from incunabula of the earliest days of printing in and world-class archival and print holdings of Bates College. the late fifteenth century to the finely printed and bound works of today’s flourishing Tbook arts movement. Bound to Art is the first ever exhibition of these holdings, presenting a selection of important illustrated books spanning the past 500 years. The exhibit explores the three-dimensional and multi-sensory ways in which images and text presented in book form can delight our eyes and inspire our minds. Published on the occasion of the exhibition Bound to Art: Illustrated Books from the Edmund S. Muskie Archives and Special Collections Library January 14–March 25, 2011 Bates College Museum of Art Olin Arts Center Copyright © 2010 Bates College All Rights Reserved • Printed in the United States of America Contents Produced by the Edmund S.
    [Show full text]