September 2007 Caa News
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Patrick Olliffe Interview & Demo Al Williamson the Man & His Work Remembered by Torres, Blevins, Schultz, Yeates, Ross, and Veitch
#23 SUMMER 2012 $7.95 In The US THE PROFESSIONAL “HOW-TO” MAGAZINE ON COMICS AND CARTOONING PATRICK OLLIFFE INTERVIEW & DEMO AL WILLIAMSON THE MAN & HIS WORK REMEMBERED BY TORRES, BLEVINS, SCHULTZ, YEATES, ROSS, AND VEITCH ROUGH STUFF’s BOB McLEOD CRITIQUES A Spider-Man TM Spider-Man & ©2012 Marvel Characters, Inc. NEWCOMER’S WORK PLUS: MIKE MANLEY AND BRET BLEVINS’ Contains nudity for demonstration of figure drawing • Mature Readers Only 0 2 1 82658 27764 2 THE PROFESSIONAL “HOW-TO” MAGAZINE ON COMICS & CARTOONING WWW.DRAW-MAGAZINE.BLOGSPOT.COM SUMMER 2012 TABLE OF CONTENTS VOL. 1, NO. 23 Editor-in-Chief • Michael Manley Designer • Eric Nolen-Weathington PAT OLLIFFE Publisher • John Morrow Mike Manley interviews the artist about his career and working with Al Williamson Logo Design • John Costanza 3 Copy-Editing • Eric Nolen- Weathington Front Cover • Pat Olliffe DRAW! Summer 2012, Vol. 1, No. 23 was produced by Action Planet, Inc. and published by TwoMorrows Publishing. ROUGH CRITIQUE Michael Manley, Editor. John Morrow, Publisher. Bob McLeod gives practical advice and Editorial address: DRAW! Magazine, c/o Michael Manley, 430 Spruce Ave., Upper Darby, PA 19082. 22 tips on how to improve your work Subscription Address: TwoMorrows Publishing, 10407 Bedfordtown Dr., Raleigh, NC 27614. DRAW! and its logo are trademarks of Action Planet, Inc. All contributions herein are copyright 2012 by their respective contributors. Action Planet, Inc. and TwoMorrows Publishing accept no responsibility for unsolicited submissions. All artwork herein is copyright the year of produc- THE CRUSTY CRITIC tion, its creator (if work-for-hire, the entity which Jamar Nicholas reviews the tools of the trade. -
California Modernism After World War Ii
1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years. -
Alternate PDF Version
CONTACTING THE WORLDS OF EDGAR RICE BURROUGHS ERB “AUTO-BIOGRAPHY” ENVELOPE The Gridley Wave #331 (April 2010) reported an unknown variant edition of ERB’s “An Auto-Biography,” published in 1916 by the Republic Motor Truck Co, Inc. Characterized as a possible “trade” edition, it was bound in illustrated card board covers. Bibliophiles member Joe Lukes reported to George McWhorter in late May that he had just purchased a mint copy of this variant, which arrived in a still- unopened envelope originally created as the mailer for the book. Joe provided these imag es of this unique envelope featuring the special artwork. In Memoriam Illustrator Al Williamson (21 March 1931 – 12 June 2010). As a teen in the 1940s, Williamson took art classes with Burne Hogarth, and later attended Hogarth's Cartoonists and Illustrators School, where he met Roy Krenkel. Among Williamson’s very first profes- sional work were laying out and penciling a number of Tarzan newspaper Sunday pages for Hogarth in 1948. Williamson reported that he had recommended John Celardo to assist Hogarth on the strip. In the early 1950s, Williamson was the youngest member in the acclaimed EC Comics stable of artists, often collaborating with Frank Frazetta. Williamson’s photorealistic pen-and-brush style and dynamic composition earned him the highest accolades from peers and fans for decades, and he became a mentor to many promising artists over the years, including Michael Kaluta. Williamson was a Al Williamson in the 1950s. featured guest at the 1998 Baltimore Dum-Dum. The Gridley Wave #334 ♦ July 2010 Published monthly for The Burroughs Bibliophiles as a supplement to The Burroughs Bulletin. -
Remnant Romance-Weber and Robson Press Release
Aurora Robson Responds to Idelle Weber’s Photorealist Paintings with New Works In Exhibition that Features Both Artists’ Explorations of the Aesthetic and Material Qualities of Trash On View January 14 – February 20, 2021 Hollis Taggart is pleased to announce a two-person exhibition of work by Idelle Weber and Aurora Robson. Remnant Romance, Environmental Works: Idelle Weber and Aurora Robson will feature oil paintings and watercolors by Weber (1932-2020) alongside new multimedia sculptural work by Robson (b. 1972), who studied the late artist’s work while creating new pieces for the exhibition. Remnant Romance will create a dialogue between the artists, who, despite working in different media and being part of distinct generations, both draw inspiration from trash and seek to find beauty in the remnants of other peoples’ lives. Remnant Romance, Environmental Works: Idelle Weber and Aurora Robson will be on view at Hollis Taggart at 521 West 26th Street from January 14 through February 20, 2021. Idelle Weber is perhaps most well known for her contribution to Pop Art and her famous silhouette paintings, in which she depicted anonymous figures doing quotidian activities against nondescript backgrounds. In the late 1960s, continuing to find inspiration in the everyday but shifting in style to photorealism, Weber turned her attention to overlooked common daily sights in New York City such as fruit stands and street litter. The artist’s photorealist paintings were a continuation of the consumerism reflected in her Pop Art works, and were exhibited more widely. Over the past decade, however, Weber’s Pop Art has received more attention, largely due to curator Sid Sach’s inclusion of her silhouette paintings in his Beyond the Surface and Seductive Subversion exhibitions in 2010. -
Robert Whyte Oral History Transcript
i San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary: ROBERT WHYTE SFMOMA Staff, 1967-1987 Supervisor of Education, 1967- Director of Education, 1980- Interviews conducted by Lisa Rubens in 2006—2007 Copyright © 2008 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Robert Whyte, dated May 18, 2008. This manuscript is made available for research purposes. -
George Adams Gallery, New York, 2019
38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com ROBERT ARNESON BORN: Benicia, CA, 1930. DIED: Benicia, CA, 1992. EDUCATION: College of Marin, Kentfield, CA California College of Arts & Crafts, Oakland, CA: B.A., 1954. Mills College, Oakland, CA: M.F.A.,1958. AWARDS: Fellow, American Craft Council, 1992. Academy-Institute Award in Art, American Academy and Institute of Arts and Letters, 1991. Honorary Doctor of Fine Arts, San Francisco Art Institute, 1987. Honorary Doctor of Fine Arts, Rhode Island School of Design, 1985. SOLO EXHIBITIONS: “Robert Arneson: The Anti-War Works 1982-1986,” George Adams Gallery, New York, 2019. Robert Arneson and William T Wiley, George Adams Gallery, New York, NY, 2017. “Guardians of the Secret II” Brian Gross Fine Art, San Francisco, CA, 2016. “Fatal Laughs: The Art of Robert Arneson” Cantor Arts Center, Stanford University, Stanford, CA, 2014-15. “Robert Arneson: Troublesome Subjects: Three Decades of Paintings, Sculpture, and Works on Paper,” George Adams Gallery, New York, NY, 2013. “Robert Arneson: Playing Dirty,” Allan Stone Gallery, New York, NY, 2012. “Robert Arneson: Installation of Works from the Collection,” San Francisco Museum of Modern Art, San Francisco, CA, 2012. “Robert Arneson: Self Portraits in Bronze” Brian Gross Fine Art, San Francisco, CA, 2012. “Robert Arneson: Founding Funk: Sculptures and Drawings 1956-66,” George Adams Gallery, New York, NY, 2010. “Robert Arneson from the 60's," Brian Gross Fine Art, San Francisco, CA, 2008. “Robert Arneson: The Black Series, Selected Works 1988-1990," George Adams Gallery, New York, NY, 2007. “Robert Arneson: Sculpture, Paintings and Drawings 1958-1992," George Adams Gallery at the ADAA Art Show, Seventh Regiment Armory, New York, NY, 2006. -
Pop Culture and Art
Colorado Teacher-Authored Instructional Unit Sample Visual Arts 6th Grade Unit Title: Pop Culture and Art INSTRUCTIONAL UNIT AUTHORS Pueblo County School District Amie Holmberg Brenna Reedy Colorado State University Patrick Fahey, PhD BASED ON A CURRICULUM OVERVIEW SAMPLE AUTHORED BY Denver School District Capucine Chapman Fountain School District Sean Norman Colorado’s District Sample Curriculum Project This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: MARCH 31, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Visual Arts Grade Level 6th Grade Course Name/Course Code Sixth Grade Visual Arts Standard Grade Level Expectations (GLE) GLE Code 1. Observe and Learn to 1. The characteristics and expressive features of art and design are used in unique ways to respond to two- and VA09-GR.6-S.1-GLE.1 Comprehend three-dimensional art 2. Art created across time and cultures can exhibit stylistic differences and commonalities VA09-GR.6-S.1-GLE.2 3. Specific art vocabulary is used to describe, analyze, and interpret works of art VA09-GR.6-S.1-GLE.3 2. Envision and Critique to 1. Visual symbols and metaphors can be used to create visual expression VA09-GR.6-S.2-GLE.1 Reflect 2. Key concepts, issues, and themes connect the visual arts to other disciplines such as the humanities, sciences, VA09-GR.6-S.2-GLE.1 mathematics, social studies, and technology 3. -
Visions of the Davis Art Center
Lost and Found: Visions of the Davis Art Center Permanent Collection 1967-1992 October 8 – November 19, 2010 This page is intentionally blank 2 Lost and Found: Visions of the Davis Art Center In the fall of 2008, as the Davis Art Center began preparing for its 50th anniversary, a few curious board members began to research the history of a permanent collection dating back to the founding of the Davis Art Center in the 1960s. They quickly recognized that this collection, which had been hidden away for decades, was a veritable treasure trove of late 20th century Northern California art. It’s been 27 years since the permanent collection was last exhibited to the public. Lost and Found: Visions of the Davis Art Center brings these treasures to light. Between 1967 and 1992 the Davis Art Center assembled a collection of 148 artworks by 92 artists. Included in the collection are ceramics, paintings, drawings, lithographs, photographs, mixed media, woodblocks, and textiles. Many of the artists represented in the collection were on the cutting edge of their time and several have become legends of the art world. Lost and Found: Visions of the Davis Art Center consists of 54 works by 34 artists ranging from the funky and figurative to the quiet and conceptual. This exhibit showcases the artistic legacy of Northern California and the prescient vision of the Davis Art Center’s original permanent collection committee, a group of volunteers who shared a passion for art and a sharp eye for artistic talent. Through their tireless efforts acquiring works by artists who were relatively unknown at the time, the committee created what would become an impressive collection that reveals Davis’ role as a major player in a significant art historical period. -
(1930-1992) Artist's Statement – Robert Arneson Resume
ROBERT ARNESON – (1930-1992) Robert Arneson is among the group of California ceramic artists who established a new direction for the art during the 1960‟s and helped move ceramics from a functional craft to an art form. As part of the Bay Area Funk Art movement, he took commonplace objects and transformed them into art, art that spoke sharply and often irreverently of political and social events. He is perhaps best known for his sculptural portraits, some of artists he admired, others self-portraits that were satiric, funny, but still making a statement. In the latter part of his life the sculptures took a darker turn, reflecting both his ongoing battle with serious illnesses and his concerns for the direction in which the world seemed to be moving. Arneson‟s legacy also includes his long teaching career in the iconic TB9 at the University of California, Davis, and a noted body of work that includes drawings and paintings as well as the sculptures. ARTIST’S STATEMENT – ROBERT ARNESON “I want to make high art that is funny, outrageous, and also reveals the human condition, which is not always high.”1 “I call myself a sculptor. I was trained as a ceramist and still prefer to exploit various techniques of this craft in my work. My forms are figurative with an occasional heavy-handed layer of irreverent content…Should I call myself a pop-funk realist or PFR?.”2 1. http://quote.robertgenn.com/auth_search.php?authid=3080 2. http://www.magnoliaeditions.com/Content/Arneson/F00001.html RESUME – ROBERT ARNESON 1930 Born, Benicia, CA 1949-1951 College of Marin, Kentfield, CA 1949-1952 Sports Cartoonist, Benicia Herald 1952-1954 B.A., California College of Arts and Crafts, Oakland, CA. -
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NYU Urban Design and Architecture Studies New York Area Calendar of Events October 2019 Happy Archtober! Sun Mon Tues Wed Thurs Fri Sat 1 2 3 4 5 Workplace Mid-Century NYBG Edible Richmond Hill Wednesday: Modern Academy Tour North Tour Deborah Berke Architecture Partners Travel Guide Architecture Church of the Power Hour: Transfiguration New Tools: Urban Design Exploring the Revolutionizing Innovation Washington Garden Design the Design within Air Square Walk: The Process Quality and Neighborhood Flower Garden Urban Heat at Wave Hill Brooklyn Island Effect Paul Rudolph Children’s Heritage Museum Tour Architecture of Foundation Nature/Nature Open House of Architecture Paola Antonelli: Broken Nature: Design Takes on Human Survival 6 7 8 9 10 11 12 The Secrets of The Vilcek Building 77 Pratt Student Women in Atelier Louis Kahn’s the Brooklyn Foundation Tour Union Tour Sustainability & Bow-Wow & Modernism & Bridge Tour Energy Tackles Rirkrit the Architecture Behind the the Climate Tiravanija Architecture of Prospect Park The BQE in and the Lights Scenes at the Mobilization Memorializatio Tour: Hidden Context: of Gotham: Practice for Act Prospect Park n Treasures Communities, Nighttime Boat Architecture Tour Infrastructure, Tour and Urbanism Rahul Mehrotra A Monument to Fort and Public (PAU) and Filiep Digital Memory: Wadsworth Space Decorte Urbanisms Fraunces Tour Lecture Conference Tavern RCR Nature into Art: Arquitectes: City College of SCALEX Architecture The Gardens Timeless New York Professional Power Hour: of Wave Hill- A Graduate Seminar Exploring the Moderate Landscape School Open Washington Conversation Design House Square Lecture: The Neighborhood Animated Prospect 13 14 15 16 17 18 19 Empire Eleena Jamil Collecting Ennead Murray Moss Open House Open House Landing Architect Design with Dr. -
Jewish Interest Titles Spring 2017
Jewish Interest Titles Spring 2017 {PLEASE CONTACT [email protected] FOR MORE INFO} Am I My Body's Keeper? Torah, Diet, and Fitness -- for Life Michael Kaufman Summary In this day and age it is nearly impossible to stay 100% healthy and fit. Between long hours sitting in an office chair, balancing a family, and accomplishing everything else on your to-do list, it's no wonder that health has become a relative term. To combat this, Michael Kaufman shows you how to extend your life by living healthy and fit. Am I My Body's Keeper contains no magic life-extending elixir, nor a secret map to help you discover the fountain of youth. Am I My Body's Keeper provides a simple guide to changing your lifestyle, from the sedentary one characterizing most of society to an active one emphasizing physical activity and healthy eating. The simple lifestyle changes advocated Urim Publications by this book will give you vim and vigor, health and fitness during those additional years of life you 9789655242669 will be gaining. Based upon the timeless teachings of the Jewish sages as well as scientific research, Pub Date: 5/2/17 Am I My Body's Keeper is a guide for good, healthy living. It is for young and old, men and Ship Date: 5/2/17 women—for everyone who wishes to be healthy and fit and to live a long life. $26.95/$35.95 Can. Discount Code: LON Hardcover Contributor Bio Dr. Michael Kaufman is a distinguished scholar and author and studied at Yeshiva and Mesivta Torah 300 Pages Vodaath, Telshe Yeshiva, Brooklyn College, and the University of Louisville. -
CHANGING the EQUATION ARTTABLE CHANGING the EQUATION WOMEN’S LEADERSHIP in the VISUAL ARTS | 1980 – 2005 Contents
CHANGING THE EQUATION ARTTABLE CHANGING THE EQUATION WOMEN’S LEADERSHIP IN THE VISUAL ARTS | 1980 – 2005 Contents 6 Acknowledgments 7 Preface Linda Nochlin This publication is a project of the New York Communications Committee. 8 Statement Lila Harnett Copyright ©2005 by ArtTable, Inc. 9 Statement All rights reserved. No part of this publication may be reproduced or transmitted Diane B. Frankel by any means, electronic or mechanical, including photocopying, recording, or information retrieval system, without written permission from the publisher. 11 Setting the Stage Published by ArtTable, Inc. Judith K. Brodsky Barbara Cavaliere, Managing Editor Renée Skuba, Designer Paul J. Weinstein Quality Printing, Inc., NY, Printer 29 “Those Fantastic Visionaries” Eleanor Munro ArtTable, Inc. 37 Highlights: 1980–2005 270 Lafayette Street, Suite 608 New York, NY 10012 Tel: (212) 343-1430 [email protected] www.arttable.org 94 Selection of Books HE WOMEN OF ARTTABLE ARE CELEBRATING a joyous twenty-fifth anniversary Acknowledgments Preface together. Together, the members can look back on years of consistent progress HE INITIAL IMPETUS FOR THIS BOOK was ArtTable’s 25th Anniversary. The approaching milestone set T and achievement, gained through the cooperative efforts of all of them. The us to thinking about the organization’s history. Was there a story to tell beyond the mere fact of organization started with twelve members in 1980, after the Women’s Art Movement had Tsustaining a quarter of a century, a story beyond survival and self-congratulation? As we rifled already achieved certain successes, mainly in the realm of women artists, who were through old files and forgotten photographs, recalling the organization’s twenty-five years of professional showing more widely and effectively, and in that of feminist art historians, who had networking and the remarkable women involved in it, a larger picture emerged.