DOCSLIB.ORG

UWM Libraries Digital Collections

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

AAMI LINDA RICHMAN JUDITH ANN MORIARTY JEWELRY editor FRANCIS FORD photo editor MEGAN POWELL calendar & 'out there' editor THOMAS FORD art direction/design NICHOLAS FRANK design ANGEL FRENCH advertising & circulation director BRADLEY MEINZ sales DEBRA BREHMER THERESE GANTZ •THE GLASS EYE" emeritus personnel JUDITH ANN MORIARTY publisher Printing by Port Publications FRIENDS OF ART MUSCLE Perry Dinkin Ellen Checota Barbara & Jack Recht Barbara Kohl-Spiro Mary & Mark Timpany Dr. Clarence E. Kusik Tina Peterman Burton & Kate Babcock Nicholas Topping Dorothy Brehmer Karen Johnson Boyd William James Taylor Arthur & Flora Cohen Remy David & Madeleine Lubar Sidney & Elaine Friedman Mary Joe Donovan James B. Chase Nate Holman Gary T. Black Merchants Police Alarm Corp. Edna Mae Black Mary Paul Richard Warzynski Delphine & John Cannon Daniel S. Weinberg Sharon L. Winded Dori & Sam Chortek Diane & David Buck Christopher Ahmuty Julie & Richard Staniszewski Toby & Sam Recht Hexagon, piano and wind Kathryn M. Finerty Konrad Baumeister ensemble Margaret Rozga Narada Productions, Inc. Tuesday, January 16 - 7:30pm Wolfgang & Mary Schmidt Rikki Thompson, Earthscapes "six young instrumentalists Cardi Toellner Nancy Evans bursting with talent" Tim Holte/Debra Vest Leon & Carolyn Travanti - The New York Times Eric D. Steele Steven H. Hill Leipzig Chamber Orchestra Polly & Giles Daeger Arthur E. Blair & Michala Petri, recorder Richard & Julie Staniszewski Maribeth Devine Thursday, February 8 - 7:30pm Egg Stanzel Anne Wamser Ruth Kjaer & John Colt Mike Madalinski Awadagin Pratt, piano Thelma & Sheldon Friedman Michael Miklas Thursday, March 7 - 7:30pm Richard Waswo Kevin Kinney & Meg Kinney Andre Watts, piano JeffYoungers JetTMartinka & Tessa Coons with David Shifrin, cbrinet and Helen J. Kuzma Joanne Kopischke Gary Hoffman, cello Frogtown Framing Richard & Lee Carone Tuesday, April 16 - 7:30pm Ellen McCormick Martens Tony De Palma Constance A. Hoogerland Vicki Wangerin New England Piano Quartette Catherine V. Bailey Daniel J. Burbach Tuesday May 7 - 7:30pm Gwendolyn Diaz Hankin Rita Chellman Mike Judy Tim Martinez JimRaab Morton & Joyce Phillips Jordan Sensibar & Patti Donahue Bob Brae Abbey Lincoln Vicki L. Phillips Saturday, rebruary 17 - 8:00pm "...a voice shooting past nerve endings to the soul's core..." To become a FRIEND OF ART MUSCLE, send a check - Newsday for $60 which entitles you to receive Art Muscle for two years and places your name on the masthead! Benny Carter with the Chicago Jazz Ensemble Art Muscle (ISSN 1074-0546) is published bi-monthly by Art Muscle- Saturday, March 30 - 8:00pm Milwaukee, Inc., 901 W. National Ave., Milwaukee, WI 53204, (414) 672-8485. Third Class postage paid at Milwaukee, WI 53202 and Wayne Shorter additional mailing offices. Postmaster: Send address changes to Art Saturday April 20 - 8:00pm Muscle, 901W. National, Milwaukee, WI 53204. Horace Silver Septet Entire contents copyright © Art Muscle-Milwaukee, Inc. All rights ABBEY LINCOLN Saturday, Feb 17 Saturday, May 11 - 8:00pm reserved, except in reviews. Reproduction in whole or in part without 8:00pm permission is prohibited. Art Muscle is a trademark of Art Muscle- Milwaukee, Inc. Subscription rates in continental U.S.:$15 one year; elsewhere, $28 one year; back issues: $3.00. 1996 Hal Leonard Jazz Series Subscriptions call 286-8/7/ 2 Art Muscle THE BfcST JEWELPy DESIGNS XHY^t^1 21 years DESIGNING AND MAKING EINE JEWELRY DISCOV^ DOMMOOK TAIH rap cmvw OOLDSAimS • JCWCLUT DBKTOS diamonds • colored Qemstoncs • cabochons DONNYBROOKTAIH 427 C 5ILVK SPRinO \MK WtllTCriSn 5AT 53217 ^ 414332.1949 CRABTREE & EVELYN8 IfMtttit^ INNOVATIVE SPACES FUTONS/HOME FURNISHINGS LOCATED IN LOEHMANN'S PLAZA, BROOKFIELD IVe carry tfie finest selection of Crabtree &> TLvelyn... J HOURS: M-F 10:00-7:00PM a pleasure to give and receive. SAT10-5PM,SUN12-5PM SOAPS & SCENTS MAYFAIRMALL 2628 N. DOWNER AVE 785-9500 771-2228 962-6566 u mm • ( o z CN CN| o o O u FEAT I E S PHOTO E55BY BY LINDB KIMPEL 14 23 S 24 INFLUENCES 25 MEMORY H5 OBJECT 26 27 DEPARTMENTS PLEXUS REFLEXUS 0 POST FRCTO 12 19 20 32 ON THE COVER PRQFESSIONRL PIERCER / PHOTQGRHPH BY LINDR KIMPEL DFLVE O'CONNOR ONCE DREAMT HE HHO H HRLL THE SIZE OF 0 TRIER-HITCH ON HIS TONGUE. FOR MORE ABOUT THIS PROFESSIONHL BODY PIERCER, TURN TO PAGE 10. 'T TRY THIS AT HOME," O'CL 4 Art Muscle JEANNE COHEN COLLECTION RECENT WORKS,,, PAINTINGS MICHAEL JUDY FRANCISCO MORA Vi DlAN ;•,,:,'J • . ' . '-A JJ 1030 East Juneau Avenue Milwaukee, Wisconsin JEANNE COHEN Located in the Cafe Knickerbocker W^W^i-MS-S^iM FDIME ATFOlSTn 1TEO y : S?9 y .%A .'.,'•- :. s Painted Furniture • Objects • Murals • Interiors as Art Clothing • Personal Collages • Etcetera A FLAIR FOR THE UNUSUAL MONA BERNSTEIN NOVEMBER 22 TO ALSO STARRING DECEMBER 23, 1995 BOOK BY JOE MASTEROFF MUSIC BY JERRY BOCK Celebrate LYRICS BY SHELDON HARNICK RICHARD HALVERSON the Arts YOU'LL LOVE THEM IN KAY STIEFEL C-/ELEBRATE THE HOLIDAYS WITH THIS HEART-WARMING BROADWAY HIT FEATURING THE RETURN OF SKYLIGHT FAVORITES PAULA CABOT AND NORMAN MOSES. photographic exhibition by Karen Bergeron Peter Tibbs AG.IU& original oils and acrylics by illivan Kevue Dan Clark 3VEP THE MOON Friday January 19 th In the trad if ion ot the O kg lights humble beginnings comes an original 8 PM pevue featuring C^ilbept Cx oullivan s finest music. Visit 1883 as theg look BOOK BY COLIN CABOT $2.00 drink specials, LYRICS BY W. S. GILBERT back on music theg have written together free Hors d'oeuvres MUSIC BY ARTHUR SULLIVAN ana ape given a glimpse into the tutupe. Lxpect supppise visits tpom goup tavopite JANUARY 24 TO \jy Oi o characteps.. .pephaps even Cafe Melange FEBRUARY 11, 1996 U Oglg Oapte himself! 720 Old World 3rd 291 -9889 lunch, dinner, tap dance, & blues SiMiTOMTHErTI O C^^oo friends were showcasing their work at her place which TAKESHI'S MANY FACETS GALLERY GLITTER is best described as heavenly, as draped, as stuffed, It's no secret that Chicago painter Takeshi Yamada is On a drizzly October night before the first dreaded and as thoroughly imaginative. Her highly theatrical a self-promoter. He's been known to review his own snowflakes were sighted in Milwaukee, art types scur­ "rooms" were set for the event with groupings of shows, or to urge his best friends to review them. ried about the rain sparkled streets beneath umbrel­ romantic velvet houses for fortunate felines, hand­ Comes now The Takeshi Yamada Fine Arts Newslet­ las, then snaked through gallery labyrinths to rub made frames, elegant floor cloths, and lovingly re­ ter, which is refreshing in light ofthe artists who do wet shoulders with artists and those who could have cycled and embellished furniture. Many items were nothing to promote themselves. His portrait (Himself been artists if only they weren't plumbers, salesper­ up for sale, some were not. Like the fondly remem­ in velvet beret and vest) is on the cover. On pages 2-3, sons and art dealers. The affable and popular painter bered David Rynning's prints which were grouped he thrums about his solo exhibitions (Milwaukee's Peltz Fred Stonehouse's newest works (with a much about her boudoir — a tender touch with a total ef­ Gallery carries his work). Then he touts the Yamada brighter palette) were at Dean Jensen's Gallery. Fred fect akin to dropping down the Rabbit Hole and into Fine Art product line: deckle-edged holiday cards, was more or less holed up behind the drink table, Wonderland where the line between art and life is a gold foil lined envelopes, reprints of Takeshi inter­ hiding from the swarms, chatting with fellow artist blur. If you missed Beal's on Gallery Night, look for views and Takeshi paintings on plates. Currently he's Carri Skoczek who was done up in snuggly faux fur it again on December 10th when she's hosting a holi­ screening volunteer graphic designers for future pub­ for the event. Their conversation revolved around day sale. lications. About Takeshi, no doubt. how seldom Stonehouse gets out to art openings, what with good baby-sitters being a major problem. COCK'S SAUERKRAUT He added that his show in Nashville was "hardly Spillville, Iowa is barely a TAIL bend in the road. It's a Whether you community with just like your poi­ a few buildings, but son poured they house things from shakers of Czech: a restau­ aluminum, silver, rant, a church, and cobalt blue glass, or a museum of fan­ chrome, there's tastic clocks. The plenty to dazzle both latter is a repository drinkers and collectors for the considerable at the Milwaukee Art carving skills of the Museum's witty Brothers Bily who spent long win­ Shaken, Not Stirred: ter evenings, after farm chores, Cocktail Shakers and producing monumental Modern Design exhibit, timepieces. The brothers (through January 7) Study were not self-promoters; the Century of Progress they left their entire col­ shaker. It's engraved with lection to Spillville. recipes for "Between The Down the street is the Sheets" (brandy, curacao, Czech cafe (with rooms gin, lemon), "Clover Club" upstairs for weary travel­ (gin, egg white, grenadine, lemon ers), where feasts are set juice), and "The Palm Beach" (gin, ver­ daily. Feasts including home­ mouth, grape fruit juice). Sometimes swanky made rye bread wrapped around pork tender­ swells preferred their anesthetics poured from loin so fresh it squeals, homemade pickles, home­ novelty shakers shaped like milk cans, an hour made sauerkraut, homemade cream soup, and glass (for monitoring the amount of booze put fresh coffee with refills. All for $3.95. The cafe is into one's system?), a lighthouse, and a 1926 happy to self-promote, they are even gaily blatant silverplate number shaped like a golf bag.
Recommended publications
  • Weaverswaver00stocrich.Pdf

    Weaverswaver00stocrich.Pdf

    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California 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 modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and 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 Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12

    Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12

    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. 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 recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
  • Workshops Open Studio Residency Summer Conference

    Workshops Open Studio Residency Summer Conference

    SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history.
  • Oral History Interview with Merry Renk

    Oral History Interview with Merry Renk

    Oral history interview with Merry Renk Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. 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. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Merry Renk AAA.renk01 Collection
  • Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics

    Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics

    PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work.
  • Sheila Hicks CV

    Sheila Hicks CV

    SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2018 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018. Sheila Hicks: Send Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019. Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018. 2017 Sheila Hicks: Glossolalia, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, April 1 – November 5, 2017. Sheila Hicks: Hilos Libres. El Textil y Sus Raíces Preshispánicas, 1954-2017, Museo Amparo, Puebla, Mexico, November 4, 2017 – April 2, 2018. Sheila Hicks: Stones of Piece, Alison Jaques Gallery, London, England, October 4 – November 11, 2017. Sheila Hicks: Hop, Skip, Jump, and Fly: Escape from Gravity, High Line, New York, New York, June 2017 – March 2018. Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1 – May 20, 2018. 2016 Si j’étais de laine, m’accepteriez-vous?, galerie frank elbaz, Paris, France, September 10 – October 15, 2016. Apprentissages, Festival d’Automne, Musée Carnavalet, Paris, France, September 13 – October 2, 2016; Nanterre-Amandiers, Paris, France, December 9 – 17, 2016. Sheila Hicks: Material Voices, Joslyn Art Museum, Omaha, Nebraska, June 5 – September 4, 2016; travels to: Textile Museum of Canada, Toronto, Canada, October 6, 2016 – February 5, 2017. Sheila Hicks: Why Not?, Textiel Museum, Tilburg, The Netherlands, March 5 – June 5, 2016.
  • Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director

    Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director

    Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director DEAR FRIENDS, In early October 1918, art critic James Britton wrote its collections and making them publicly available. in his diary, “When the health law rings the gong— To support this vision, this year, the Roy Lichtenstein even art must stand attentive to Influenza.” More Foundation made a transformational $5 million gift than a century later, the Archives of American Art to create an endowment to process and digitize stands attentive to COVID-19. On March 16, 2020, collections on art and artists from historically we moved our entire staff to telework status, closing underrepresented groups. Digitization requires time our DC and New York research centers. Now, as and meticulous attention to detail. Having recently we begin 2021, many staff are still working from completed a three-year challenge grant from home, continuously finding new ways to connect the Walton Family Foundation, we improved our our mission to collect, preserve, and share the efficiency, doubling our rate of digitization. legacy of American art with the increasingly virtual With schools across the US now turning to world. Others are in the office on a staggered distance learning, we are well positioned to schedule, preserving the collections we continue help and to scale up our efforts to promote the to acquire during the pandemic and digitizing value of teaching with primary sources. This material for curious individuals everywhere to year, continuing our partnership with the Lunder consult on our website. In the report ahead, you Institute for American Art at Colby College and will find highlights from a year like no other, the Cleveland Museum of Art, we held the second one that generated innovative projects, exciting in a series of three workshops focused on creating partnerships, and new examples of our expertise innovative, adaptable models for using archival applied amid the challenges of a global pandemic.
  • Hicks, Sheila CV

    Hicks, Sheila CV

    SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2021 Sheila Hicks: Off the Grid, The Hepworth Wakefield, Wakefield, United Kingdom, November 27, 2021 – May 2022 Sheila Hicks: Music to My Eyes, Alison Jacques Gallery, London, UK, June 4 – July 31, 2021 Sheila Hicks: Cosmic Vibrations, Galerie Nähst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria, May 28 – August 21, 2021 Sheila Hicks: Cosmic Arrivals, Francesca Minini, Milan, Italy, May 19 - July 17, 2021 Sheila Hicks: The Questioning Column, Moody Center for the Arts at Rice University, Houston, TX, May 17 – August 28, 2021 2020 Sheila Hicks, Galerie nächst St. Stephan, Vienna, Austria, December 22, 2020 – February 6, 2021 Sheila Hicks: Thread, Trees, River, Museum of Applied Arts [MAK] Vienna, Vienna, Austria, December 10, 2020 – April 18, 2021 2019 Reencuentro, Museo Chileno de Arte Precolombino, Santiago, Chile, August 8, 2019 – January 31, 2020, curated by Carolina Arévalo Sheila Hicks: Secret Structures, Looming Presence, Dallas Museum of Art, Dallas, TX, June 30, 2019 – January 12, 2020 Sheila Hicks: Seize, Weave Space, Nasher Sculpture Center, Dallas, TX, May 11 – August 18, 2019 Sheila Hicks: Line by Line, Step by Step, Demisch Danant, New York, NY, April 29 – June 8, 2019 Sheila Hicks: Campo Abierto (Open Field), The Bass, Miami Beach, FL, April 13 – September 29, 2019 2018 MIGDALOR, Magasin III Jaffa, Tel Aviv, Israel, October 11, 2018 – February 15, 2019 Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018 Sheila Hicks: Sens Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018, curated by Michel Gauthier 2017 Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1, 2017 – May 20, 2018 Sheila Hicks: Hilos Libres.
  • 20Th Century Design and Craft: the Library of Philip Aarons

    20Th Century Design and Craft: the Library of Philip Aarons

    20 th Century Design and Craft The Library of Philip Aarons 965 titles in 981 volumes The Philip Aarons Design Library The Philip Aarons design library is focused on modern decorative arts—including ceramics, glass, furniture design, metalwork and jewelry—and on modern architecture and architects, from Wright and Gaudi to Team 10. Studies of periods and movements, such as Art Nouveau, Arts and Crafts, and Art Déco, are represented as well. ARS LIBRI THE PHILIP AARONS 20 TH CENTURY DESIGN AND CRAFT LIBRARY GENERAL WORKS 1 AGIUS, PAULINE. British Furniture, 1880-1915. 195, (1)pp. Prof. illus. 4to. Cloth. D.j. Woodbridge (The Antique Collectors’ Club), 1978. 2 AKRON. THE AKRON ART INSTITUTE. Why Is an Object: An Exhibition Investigating Motivation and Purpose. Sept.- Nov. 1962. Text by Luke Lietzke and the artists. (32)pp. 15 plates. Sm. oblong 4to. Wraps. Josef Albers, Leonard Baskin, Wharton Esherick, Trude Guermonprez, Edith Heath, Margo Hoff, Gideon Kramer, Jack Lenor Larsen, Miriam Leefe, George Nakashima, Robert Sperry, Lenore Tawney, Peter Voulkos, Marguerite Wildenhain, George Wells. Akron, 1962. 3 AKRON. AKRON ART INSTITUTE. Young Designers 1953. March-April 1953. (16)pp. Prof. illus. Sm. sq. 4to. Wraps. Library stamp. Akron, 1953. 4 AKRON. AKRON ART MUSEUM. Off the Production Line. An invitational exhibition of products designed for industry for you. Feb.-March 1956. (28)pp. 55 illus. Oblong 4to. Self-wraps. Akron, 1956. 5 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO. ART MUSEUM. Crafts: National Invitational Exhibition. April-May 1968. 23, (1)pp. Prof. illus. 4to. Wraps. Albuquerque, 1968. 6 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO.
  • View Full Issue As

    View Full Issue As

    FREE VOUThitbieiE, 6r-March14. I Give the People Light and they will find their own way. The Wisconsin Light Our While Thousands of Teens Contract HIV, A White House Report Ignores Gay Teens 200th Washington, D.C.—Teen- agers are contracting the AIDS virus at an average of more than one an hour, and Issue the White House has again urged the nation to teach them how to protect them- For One Brief, selves. But to some disappointed Shining Moment young people, the report, is- sued March Sth, and its me- dia fanfare were just more the Possibility of government talk and no ac- tion. $8 Million Brought "This report isn't really doing something for youth," Camelot said Lam Duckim, 24, of Washington, who • has the By Terry Boughner HIV virus. "There is a need Milwaukee—Now it appears to have been for accountability." nothing more than an elaborate con in the Between 40,000 and 80,000 classical definition of that word. Then, how- Americans become infected ever, it didn't seem like that at all. with the AIDS virus each On Tuesday, February 27'5, a thick envelop year, and one in four is a marked "Confidential" and "For Editor teen-ager. That means that Only" arrived at the offices of Wisconsin between 10 and 20 thousand Light. Inside was a packet of very official teens are infected with HIV looking documents. With them was a hand every year. written covering letter addressed to the edi- Liberation Time—The once repressed Wally (Scott Thompson, top) joyously proclaims hi sexual identity to a chorus of celebrants Based on those sobering tor.
  • Scud: the Whole Shebang Free Ebook

    Scud: the Whole Shebang Free Ebook

    FREESCUD: THE WHOLE SHEBANG EBOOK Jack Grey,Dan Harmon,Mondy Carter,Rob Schrab | 786 pages | 28 Jun 2011 | Image Comics | 9781582406855 | English | Fullerton, United States Scud: The Disposable Assassin: The Whole Shebang - Comics by comiXology The lowest-priced item that has been used or worn Scud: The Whole Shebang. The item may have some signs of cosmetic wear, but is fully operational and functions as intended. This item may be a floor model or store return that has been used. See details for description of any imperfections. Absolutely marvelous. Blew me away. Not your garden variety comic to be sure. I had heard about through a series of odd encounters with separate persons and after painstaking research and backchecking I somewhat reluctantly decided it was worth taking a peak. Did I ever get a surprise? Yes, yes I did. I recieved it one afternoon and immediately dug in. I had a busy schedule that day, but it all got put on hold. I was engrossed to say the least. I made my way through The Whole Shebang in a matter of less than two days and it is no small volume of work. It does go by fast though. Too fast. When you get done, it feels like you just started until you remember that you have been reading all night. I guess that is an indication of a job well done. I am not a big time graphic novel reader so it should come as no surprise that it ranks near the top of my list, Scud: The Whole Shebang also since as I am not a big time graphic novel reader, it should be Scud: The Whole Shebang saying something that I bothered to give it a chance at all.
  • Phaidon Editors Interview Anne Wilson in Conjunction with “Vitamin T: Threads and Textiles in Contemporary Art,” Phaidon Press, 2019

    Phaidon Editors Interview Anne Wilson in Conjunction with “Vitamin T: Threads and Textiles in Contemporary Art,” Phaidon Press, 2019

    Phaidon Editors interview Anne Wilson in conjunction with “Vitamin T: Threads and Textiles in Contemporary Art,” Phaidon Press, 2019 Online: https://www.phaidon.com/agenda/art/articles/2019/march/13/talking-textiles-with-anne-wilson/ Anne Wilson in the studio Who are you and what’s your relationship with/ connection to threads and textiles? I’m an artist and professor of art. Although I work between sculpture, drawing, installation and performance, my work is always grounded in a textile language. In recent years, I’ve been creating material drawings using found cloth, thread, and human hair, alongside performing the infrastructure of textile production in durational public performances. What part does the tactility of the material play in your desire to work with it rather than say paint? The physicality of materials is essential to the content of my work. This physicality has tremendous ability to speak to issues of our own humanness in very direct ways -- there is meaning in the work through a haptic sensibility, knowing what something is through the memory of knowing how it feels. As well, the found materials I use - lace, bed sheets, table linen, human hair - bring material culture studies into the conceptual arena of contemporary art, acknowledging the embedded histories of these materials and ways of making as critical frames for artwork. p.2 Phaidon Editors interview Anne Wilson Why do you think there’s an increased interest around textile art right now? There is currently a renewed engagement with hand making and materiality in response to contemporary conditions -- the saturation of the digital (the omnipotence of screens), the environmental urgency of reuse, and the political position of personal agency in making everyday things.