DOCSLIB.ORG

Saif M. Mohammad and Svetlana Kiritchenko the SOURCE of THE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Saif M. Mohammad and Svetlana Kiritchenko the SOURCE of THE WikiArt Emotions: An Annotated Dataset of Emotions Evoked by Art Saif M. Mohammad and Svetlana Kiritchenko {saif.mohammad,svetlana.kiritchenko}@nrc-cnrc.gc.ca National Research Council Canada RESEARCH QUESTIONS THE WIKIART EMOTIONS DATASET APPLICATIONS www.saifmohammad.com/WebPages/wikiartemotions.html • what makes art evocative? • search paintings evoking the • how does art convey different emotions? Annotated 4,105 pieces of art for emotions desired emotional response • what attributes make a painting well liked? evoked, amount liked, whether they depict a face • automatically detect emotions • how much does the title of an art impact its • 10 people per item, crowdsourcing evoked by paintings emotional response? • 4 styles: Renaissance, Post-Renaissance, Modern, • automatically transform paintings • what is the extent to which categories of Contemporary • identify what makes paintings art evoke consistent emotions? • 22 categories: Impressionism, Figurative art, Realism, etc. evocative THE SOURCE OF THE ART EMOTION ANNOTATIONS LABEL AVERAGE ART WikiArt.org: 151,151 pieces of art; • 20 emotions chosen from art literature 10 art styles; 168 style categories • select all that the art brings to mind DISTRIBUTION RATINGS • annotate image, title, art (image, title) 4 out of 10 say emotion present -3 (dislike a lot) to 3 (like a lot) • notable art in each category is shown in a Featured page Avg. Art Ratings Positive Emotion Distribution % (by fine emotion) • selected ~200 items from each of gratitude, thankfulness, or indebtedness the featured pages of 22 categories happiness, calmness, pleasure, or ecstasy humility, modesty, unpretentiousness, or simplicity Style love or affection Contemporary Art: ~2000 pieces optimism, hopefulness, or confidence Minimalism trust, admiration, respect, dignity, or honor Modern Art: ~60,000 pieces Negative Impressionism, Expressionism, Post-Impressionism, Surrealism, Abstract Expressionism, Cubism, Pop Art, anger, annoyance, or rage Abstract Art, Art Informel, Color Field Painting, Neo- arrogance, vanity, hubris, or conceit Expressionism, Magic Realism, Lyrical Abstraction disgust, dislike, indifference, or hate Post-Renaissance Art: ~ 35,000 pieces fear, anxiety, vulnerability, or terror Realism, Romanticism, Baroque, Neoclassicism, Rococo pessimism, cynicism, or lack of confidence Renaissance Art: ~6,000 pieces regret, guilt, or remorse Northern Renaissance, High Renaissance, Early sadness, pensiveness, loneliness, or grief Renaissance shame, humiliation, or disgrace Other or Mixed agreeableness, acceptance, submission, compliance Title: Mona Lisa anticipation, interest, curiosity, suspicion, vigilance disagreeableness, defiance, conflict, or strife Year: 1504 shyness, self-consciousness, reserve, or reticence Artist: Leonardo da Vinci surprise, surrealism, amazement, or confusion Style: Renaissance neutral Category: High Renaissance GREEMENT Annotations: A Art Ratings Distribution % Avg. Art Ratings (by coarse emotion) Avg. art rating: 2.25 Face, body: face Fleiss’ K per emotion per Emotions in image, title: happiness, trust category: from -0.02 to 0.31. image: happiness, trust Higher: title: happiness, trust • Renaissance, Post-Renaissance • basic emotions: happiness, EMOTIONS EVOKED FROM love, sadness, anger, fear • art with face or body IMAGE, TITLE, AND ART Avg. Art Ratings (by art style) Lower: Face-Body Distribution % • title conveys different sets of • Modern Art, Contemporary Art emotions than • complex emotions: shame, • image alone or art as a whole regret, optimism, etc. • even art and image differ in a • art with no face or body large percentage of instances Emotion Match % WHAT MAKES ART WELL LIKED • art that evokes positive emotions (love, trust, humility, happiness, etc.) • Post-Renaissance, Renaissance (Realism, Rococo, Neoclassicism, etc.) • Romanticism, Neoclassicism, Impressionism evoking love as well as Impressionism evoking optimism Title: Don Quixote and Sancho Title: Young mother contemplating her Title: Hornet, 1970 Panza in the mountains, XIX cent. sleeping child in candlelight, 1875 Artist: Dan Christensen Artist: Honore Daumier Artist: Albert Anker Style: Color Field Painting (Modern Art) Style: Impressionism (Modern) Style: Realism (Post Renaissance) Avg. art rating: -1.9 (the most disliked) Avg. art rating: 0.4 copyright Avg. art rating: 2.8 (the most liked) Emotions (image, title): anticipation, surprise Emotions (image, title): sadness Emotions (image, title): happiness, love, trust Emotions (image): anticipation, surprise Emotions (image): fear Emotions (image): happiness, love Emotions (title): anticipation Emotions (title): happiness Emotions (title): happiness, love, trust.
Load more

Recommended publications
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • JAMES LITTLE FOREWORD the Vanguard Become So Widely Accepted That They Constitute a New Shifting Towards Representation of Any Kind
    NEW YORK CEN TRIC Curated by The Art Students League of New York The American Fine Arts Society Gallery 215 West 57th Street, NYC JAMES LITTLE FOREWORD the vanguard become so widely accepted that they constitute a new shifting towards representation of any kind. academy and, in turn, provoke the development of alternatives. In the NEW YORK–CENTRIC: A NON-COMPREHENSIVE OVERVIEW late 1950s, when Abstract Expressionism was increasingly acclaimed The Color Field painters remained faithful to their older predecessors’ by the small art world of the time, and the meaning of authenticity, conviction that abstraction was the only viable language for artists “Too much is expected of Art, that it mean all kinds of things and is of what he called “color-space-logic.” His work for social justice de- the necessity of abstraction, and the function of art as a revelation of their generation and faithful, as well, to the idea that the painter’s the solution to questions no one can answer. Art is much simpler than manded so much of his time that it often prevented him from painting of the unseen were passionately debated in the Cedar Tavern and role was to respond to inner imperatives, not reproduce the visible. that. Its pretentions more modest. Art is a sign, an insignia to cel- (he mainly produced drawings and works on paper in the 1930s) but The Club, so many younger artists who absorbed these values strove Like the Abstract Expressionists, too, the Color Field painters were ebrate the faculty for invention.” it had significant results, such as getting artists classified as workers to emulate Willem de Kooning’s dense, layered paint-handling that convinced that every canvas, no matter how much it resembled noth- eligible for government support—hence the WPA art programs.
    [Show full text]
  • For Immediate Release
    FOR IMMEDIATE RELEASE Contact: [email protected] PETER YOUNG Ellipse Paintings ARTIST’S FIRST SOLO EXHIBITION AT GALLERY WENDI NORRIS September 8 – October 29, 2016 Opening Reception: Thursday, September 8, 6-8PM Peter Young in conversation with Gary Garrels, Elise S. Haas Senior Curator of Painting & Sculpture, SFMOMA Wednesday, September 28, 6-7PM #36 – 1994, 1994, Acrylic on canvas, 67 3/4 x 80 1/2 inches (172.1 x 204.5 cm) July 5, 2016 – San Francisco – For the first exhibition with Peter Young, Gallery Wendi Norris will exhibit nine large paintings on canvas and eight small paintings on paper from the artist’s “Ellipse” series. The solo show will encompass the entire gallery with works completed between 1989-2001. Charisma and exuberance flow through the gestural color swatches in Young’s work. In works like #75- 2000 and #76-2000, the central color palette is that of primary colors, and in others, such as #36-1994, the softer hues of western landscapes appear. For example, in #36-1994, the sienna glow of the rocky environs surrounding his Southern Arizona home is prominent, with thinly washed turquoise strokes, suggesting the pristine blue skies of the desert. Though the foreground is made up of flat, thickly colored geometric shapes, the background is comprised of delicate washes of acrylic or vacant white canvas. Such distinct layers produce a surprising sense of depth and motion as the viewer’s eye moves from one plane to the other. A dancing effect materializes and the works approach the near figurative, as if in conversation with paintings of an earlier era with a similar emphasis on joie-de-vivre, perhaps those of Matisse and his fauvist compatriots.
    [Show full text]
  • Lyrical Abstraction
    Lyrical Abstraction Findlay Galleries presents the group exhibition, Lyrical Abstraction, showcasing works by Mary Abbott, Norman Bluhm, James Brooks, John Ferren, Gordon Onslow Ford, Paul Jenkins, Ronnie Landfield, Frank Lobdell, Emily Mason, Irene Rice Pereira, Robert Richenburg, and Vivian Springford. The Lyrical Abstraction movement emerged in America during the 1960s and 1970s in response to the growth of Minimalism and Conceptual art. Larry Aldrich, founder of the Aldrich Museum, first coined the term Lyrical Abstraction and staged its first exhibition in 1971 at The Whitney Museum of American Art. The exhibition featured works by artists such as Dan Christensen, Ronnie Landfield, and William Pettet. David Shirey, a New York Times critic who reviewed the exhibition, said, “[Lyrical Abstraction] is not interested in fundamentals and forces. It takes them as a means to an end. That end is beauty...” Jackson Pollock’s drip paintings and Mark Rothko’s stained color forms provided important precedence for the movement in which artists adopted a more painterly approach with rich colors and fluid composition. Ronnie Landfield, an artist at the forefront of Lyrical Abstraction calls it “a new sensibility,” stating: ...[Lyrical Abstraction] was painterly, additive, combined different styles, was spiritual, and expressed deep human values. Artists in their studios knew that reduction was no longer necessary for advanced art and that style did not necessarily determine quality or meaning. Lyrical Abstraction was painterly, loose, expressive, ambiguous, landscape-oriented, and generally everything that Minimal Art and Greenbergian Formalism of the mid-sixties were not. Building on Aldrich’s concept of Lyrical Abstractions, Findlay Galleries’ exhibition expands the definition to include artists such as John Ferren, Robert Richenburg and Frank Lobdell.
    [Show full text]
  • New Work on Paper I John Elderfield
    New work on paper I John Elderfield Author Elderfield, John Date 1981 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2019 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art NEW WORK ON PAPER JAKE BERTHOT DAN CHRISTENSEN ALAN COTE TOM HOLLAND YVONNE JACQUETTE KEN KIFF JOAN SNYDER WILLIAM TUCKER JOHN ELDERFIELD THE MUSEUM OF MODERN ART NEW YORK NEW WORK ON PAPER 1 Thisis the first in a seriesof exhibitionsorganized by The Museumof ModernArt, New York, each of whichis intendedto showa relativelysmall number of artists througha broadand representativeselection of their recentwork on paper.Emphasis is placedon newwork, with occasionalglances backward to earlierproduction where the characterof the art especially reguiresit, and on artists or kindsof art not seenin depth at the Museumbefore. Beyond this, no restrictionsare imposedon the series,which may include exhibitions devoted to heterogeneous and to highlycompatible groups of artists, and selectionsof workranging from traditional drawing to workson paper in mediaof all kinds.Without exception, however, the artists includedin each exhibitionare presentednot as a definitive selectionof outstandingcontemporary talents but as a choice, limitedby necessitiesof space, of only a fewof those whose achievementmight warrant their inclusion— and a choice, moreover,that is entirelythe responsibilityof the directorof the exhibition,who wished to share someof the interestand excite mentexperienced in lookingat newwork on paper. NEW WORK ON PAPER 1 JOHN ELDERFIELD THE MUSEUM OF MODERN ART, NEW YORK Copyright© 1981by The Museumof ModernArt TRUSTEES OF THE MUSEUM Jr.,Mrs.
    [Show full text]
  • Press Release for Immediate Release Berry Campbell Gallery Hosts Exhibition at Historic Ashawagh Hall
    PRESS RELEASE FOR IMMEDIATE RELEASE BERRY CAMPBELL GALLERY HOSTS EXHIBITION AT HISTORIC ASHAWAGH HALL NEW YORK, NEW YORK, SEPTEMBER 29, 2020 – Berry Campbell Gallery is pleased to present “Continuum,” a special exhibition at the historic Ashawagh Hall in Springs, East Hampton, New York. “Continuum” is a group exhibition featuring works by local contemporary artists represented by Berry Campbell: Eric Dever, Mike Solomon, Susan Vecsey, and Frank Wimberley. Ashawagh Hall is located at 780 Springs Fireplace Road in Springs, East Hampton, just a few steps from Jackson Pollock and Lee Krasner’s former home (now the Pollock-Krasner House and Study Center). Springs is known as a long-standing artist community, considered an artistic center for Abstract Expressionist artists like Jackson Pollock, Lee Krasner, James Brooks, Charlotte Park, Perle Fine, Willem de Kooning, Elaine de Kooning, and Ibram Lassaw. Berry Campbell represents many artists connected to the Hamptons community including Perle Fine, Charlotte Park, Raymond Hendler, John Opper, Syd Solomon, Larry Zox, and Dan Christensen. Started in the 1960s by the Abstract Expressionists, the “Springs Invitational” exhibition, hosted by Ashawagh Hall, is hailed as a cornerstone event of the local community. To further this tradition, Berry Campbell is featuring four of the gallery’s contemporary artists who continue this legacy by exhibiting at this historic venue. “Continuum” will be on view from Friday, October 9, 2020 through Monday, October 12, 2020 for Columbus Day weekend. Ashawagh Hall will be open with special hours: Friday, 11 am- 6 pm; Saturday, 9 am – 6 pm (Springs Farmer’s Market until 1pm); Sunday, 11 am – 6 pm; Monday (Columbus Day), 11 am – 6 pm.
    [Show full text]
  • Oral History Interview with David Novros, 2008 Oct. 22-27
    Oral history interview with David Novros, 2008 Oct. 22-27 Funding for this interview was provided by the Brown Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a mini-disc recorded interview with David Novros on October 22 and 27, 2008. The interview took place at the artist's home in New York, New York, and was conducted by Michael Brennan for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by a grant from the Brown Foundation, Inc. David Novros and Michael Brennan have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview MICHAEL BRENNAN: This is Michael Brennan interviewing the painter David Novros on October 22, 2008, in his studio on Broome Street [New York City]. So, David, can you tell me when and where you were born? DAVID NOVROS: I was born in Los Angeles, California, in 1941. MR. BRENNAN: And describe your childhood in L.A. and your family background. MR. NOVROS: I was raised by two people who were both artists, painters originally. My father became a filmmaker and opened a studio, and my mother worked on the animated films that he made.
    [Show full text]
  • Dan Christensen: Forty Years of Painting
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2010 Dan Christensen: Forty Years of Painting Sharon L. Kennedy Curator of Cultural and Civic Engagement at Sheldon Museum of Art Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Kennedy, Sharon L., "Dan Christensen: Forty Years of Painting" (2010). Sheldon Museum of Art Catalogues and Publications. 20. https://digitalcommons.unl.edu/sheldonpubs/20 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. DAN CHRISTENSEN FORTY YEARS OF PAINTING DAN CHRISTENSEN, LISA'S RED, 1970, ACRYLIC ON CANVAS, 102 X 88 INCHE S, COLLECTION OF THE KEMPER MUSEUM OF CONTEM PORARY ART, KANSAS CITY, MISSOUR I, BEBE AND CROSBY KEMPER COLLECTION, GIFT OF THE ENID AND CROSBY KEMPER FOUNDATION 1995.15 rt critic Clement Greenberg described Dan Kansas City Art Institute and after one year of graduate Christensen (1942-2007) as "one of the school moved to the East Coast where he spent the rest of painters on whom the course of American his life. Although he was painting the figure when he arrived A Art depends." 1 This retrospective exhibition in New York, he soon made an abrupt break from this style. documents Christensen's life-long quest to understand the possibilities of color, paint, and pictorial Artists in Christensen's circle met and shared ideas at space.
    [Show full text]
  • Painting Music: Rhythm and Movement in Art
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2007 Painting Music: Rhythm And Movement In Art Sharon L. Kennedy Curator at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Kennedy, Sharon L., "Painting Music: Rhythm And Movement In Art" (2007). Sheldon Museum of Art Catalogues and Publications. 56. https://digitalcommons.unl.edu/sheldonpubs/56 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. painting music: rhythm and movement in art 2006-2007 20th Annual Sheldon Statewide Exhibition Sheldon Memorial Art Gallery University of Nebraska-lincoln painting music: rhythm and movement in art In the past 100 years music has played a tremendously important role in the stylistic development of visual art. It has created impetus and inspiration for those artists wishing to produce a pure and transcendental art form. Music has also been used as an analogy or metaphor in artistic expression. By listening to music and emulating it in their work, artists have discovered unconventional techniques in their art-making approach. Painting Music: Rhythm and Movement in Art explores the influence of music on the visual arts beginning in the early 20 th century with the Russian artist Wassily Kandinsky and continuing with the work of contemporary artists.
    [Show full text]
  • Stain Paintings 1968-1975
    STAIN PAINTINGS 1968-1975 24 EAST 78TH STREET, NEW YORK, NEW YORK 10075 (212) 628-9760 | GPCONTEMPORARY.COM 1 The undulating sweeps of red, green, and yellow in Pat Lipsky’s Springs things.⁴ Greenberg proposed a utopia for vision, a realm where the act of seeing Fireplace, 1969, are of course contained by the edges of the canvas. Yet this could achieve purity. painting—over five feet high and nearly nine feet wide—attains a scale far greater than its physical size, for the artist has not merely claimed the surface It is understandable that he was drawn to the high-keyed color in Lipsky’s for her vibrant colors. She has charged it with their expansive energies. In 2009, paintings. And understandable, too, that she appreciated the insights and Lipsky described her method of making this and other “wave paintings.” Having speculations that preceded his judgments on contemporary art. Unconverted thoroughly soaked a blank canvas with water, she would cover it with currents of to his theory about painting’s exclusively visual essence, she never strove for fluid paint. Bringing a painting to completion was a joyous process. “I’d dance, Greenbergian “purity,” which is, in fact, unobtainable. As we engage with the I’d play, I’d rub” with one of the sponges the artist had collected in her studio. paintings Lipsky made in the late 1960s and the ’70s, there is no question of Revision was impossible for these are, as the artist says, “one-shot paintings.”¹ On detaching vision from our other faculties. Our visual responses are powerful a visit to her studio in 1974, the writer Bernard Malamud asked, “Are you aware of in part because they are interwoven with an empathetic sense of the painter’s lighting fires in your paintings?” physical energy and grace.
    [Show full text]
  • Annual Report 2015–2016
    Annual Report 2015–2016 1 Established in 1924, the Tucson Museum of Art and Historic Block (TMA) is the region’s oldest and largest Mission Statement visual arts institution. The Museum cares for more than 8,500 objects in its permanent collection, as well The Tucson Museum of Art and Historic Block connects art to as five historic properties on its four-acre campus. With a mission of Connecting Art to Life, the Museum life, inspiring discovery, creativity, and cultural understanding presents a wide range of exhibition and education opportunities focusing on the primary collection areas of Modern and Contemporary Art, Art of the American West, Latin American Art, and Asian Art. through meaningful, engaging experiences. TMA is an important resource for the Southern Arizona community, not only because of its exhibitions of To achieve its mission, the Tucson Museum of Art and locally- and nationally-significant art works, but also because of its educational programs, which involve Historic Block preserves and interprets its collections of the over 100 schools and organizations throughout the region. Through its variety of programs, and with the Art of Americas, Art of the American West, Asian Art, and assistance of nearly 3,000 members and five support organizations representing some 600 volunteers, TMA is able to connect art to life by offering cultural links relevant to a community that is rich in history Modern and Contemporary Art; cares for and interprets and tradition, but also always changing. five significant El Presidio historic properties; and produces related exhibitions, education programs, and publications TMA is a 501(c)(3) private, non-profit organization dedicated to the educational, aesthetic, and cultural promotion of the arts.
    [Show full text]
  • Voir Dire Strategies After Cortez and Hyundai
    VOIR DIRE: STRATEGIES AFTER CORTEZ AND HYUNDAI DAN CHRISTENSEN Carlson Law Firm, P.C. 3410 Far West Blvd., Ste. 235 Austin, Texas 78731 (512) 346-5688 State Bar of Texas 23RD ANNUAL ADVANCED PERSONAL INJURY LAW COURSE July 18 - 20, 2007 — Dallas August 1 - 3, 2007 — San Antonio August 22 - 24, 2007 — Houston CHAPTER 19.1 Dan Christensen Dan Christensen has a personal injury practice in Austin, Texas. Mr. Christensen works with The Carlson Law Firm doing the firm’s litigation and trial work. Mr. Christensen is Board Certified in Personal Injury Trial Law by the Texas Board of Legal Specialization. He is “AV” rated and was recognized in 2004 by Texas Monthly as one of Texas’ “Rising Stars.” He is licensed to practice law in federal and state courts in both Texas and California. Before beginning the practice of law, Dan graduated from the University of Iowa earning his B.B.A. with distinction and honors in Finance. He then acquired his J.D., with distinction, also from the University of Iowa. During his final year, Dan was Editor-in-Chief of the JOURNAL OF CORPORATION LAW. Upon graduation, Dan served as a prosecutor and defense counsel in the U.S. Army Judge Advocate General’s Corps (JAG). He then joined The Carlson Law Firm, P.C., and has tried cases involving negligent security, commercial trucking collisions, product defects, highway design, medical malpractice, FTCA, premises liability, and car wrecks. Dan also contributes substantial time to writing articles for local and national publications and organizations, as well as speaking to groups on various legal topics.
    [Show full text]