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Articles 31 - 60 of 71

Full-Text Articles in Art and Design

The Mechanical Bride, Allison De Fren Dec 2011

The Mechanical Bride, Allison De Fren

Allison De Fren

No abstract provided.


Teaching With Archives: Searching For Oliver Smith's Designs, Patrick Finelli Dec 2011

Teaching With Archives: Searching For Oliver Smith's Designs, Patrick Finelli

Patrick Finelli

This essay describes research centered on the American scenographer Oliver Smith. Design students were presented challenges related to archival identification, access, investigation, and presentation of findings. The students framed their inquiry according to conventional practice, searching library collections and then following bibliographic threads as they expanded their keyword search inquiries to other collections. The objectives were to distinguish between biographical and archival research, uncover works of art in physical repositories, and examine rough sketches and finished renderings in order to illuminate the creative imagination of the designer. The students believed that the problem of gaining access to physical archives could ...


Review Of American Folk Art: A Regional Reference, Nevin Mayer Dec 2011

Review Of American Folk Art: A Regional Reference, Nevin Mayer

Nevin J Mayer

No abstract provided.


Overlook: Landscape Studies, Megan Vossler Dec 2011

Overlook: Landscape Studies, Megan Vossler

Megan Vossler

No abstract provided.


Artists For Penland, Anika Smulovitz Aug 2011

Artists For Penland, Anika Smulovitz

Anika Smulovitz

No abstract provided.


Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy Mar 2011

Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy

Robert Oddy

Lines in stained glass artwork are important design features. With copper foil and lead came techniques, they are often prominent and black with the light source behind them. Carefully designed and implemented lines can enhance the sense of depth in a picture and have a rather paradoxical nature in our work. I find that I have a rather complicated relationship with my lines.


G: An Avant-Garde Journal Of Art, Architecture, Design, And Film, 1923-1926, Ed. By Detlef Mertins And Michael W. Jennings, Nedda Ahmed Feb 2011

G: An Avant-Garde Journal Of Art, Architecture, Design, And Film, 1923-1926, Ed. By Detlef Mertins And Michael W. Jennings, Nedda Ahmed

Nedda H Ahmed

No abstract provided.


Cover Image - "Devon Avenue Sampler", Laura Kina Dec 2010

Cover Image - "Devon Avenue Sampler", Laura Kina

Laura Kina

Laura Kina "Devon Avenue Sampler" acrylic on fabric, 53x77", 2009. To view the cover and learn about Cathy's book see: http://www.temple.edu/tempress/titles/2113_reg.html To see the Devon Avenue Sampler series: http://www.laurakina.com/devon.html


The Lead Line Effect: Shape Without The Came, Robert Oddy Dec 2010

The Lead Line Effect: Shape Without The Came, Robert Oddy

Robert Oddy

In a previous article, I have mentioned my view that stained glass work is akin to impressionism. We use the features of the glass to suggest detail in our subject matter. However, I often find that for some details, this approach is not adequate. For an example, see the scales in Koi, figure 1. It is also not always practical to implement this fine detail by joining large numbers of very small pieces of glass. In this article, I will talk about methods that produce effects compatible with the ‘lead’ lines of traditional stained glass, namely the use of copper ...


Plating In Stained Glass: Experience The Beauty, Robert Oddy Dec 2010

Plating In Stained Glass: Experience The Beauty, Robert Oddy

Robert Oddy

“Plating” is a piece of stained glass jargon. It refers to the practice of using more than one layer of glass in the construction of a panel. The layers are not fused together. They are simply stacked up, one on top of another and joined by soldering foil or came. I would like to spend a little time on the reasons for using this plating technique. In a future article I may say more about the techniques themselves, but the why’s are more important than the how’s.


Adjusting The Lens: Creating An Aesthetic Awareness Of Local Environment, Lynn Sondag Dec 2010

Adjusting The Lens: Creating An Aesthetic Awareness Of Local Environment, Lynn Sondag

Lynn Sondag

Aesthetic experiences of an “everyday” environment passed through the lens of an artist and represented visually can lead towards a deeper inquiry and awareness of one’s surroundings. Both internal and external resources are influential to this consciousness. Internally, an artist will find a way to include their perception of the world in their work, while external information- such as science based research or cultural/local beliefs also direct the imagination and heighten our aesthetic appreciation of environment or landscape. Looking at the bigger picture, what does this say about the contributions artists make in the context of environmental issues ...


[Photograph Of Work], Anika Smulovitz Dec 2010

[Photograph Of Work], Anika Smulovitz

Anika Smulovitz

Presents one-of-a-kind pieces selected by prominent and influential jewelers and includes expert commentary from leading jewelers, curators, collectors, and gallery owners.


Complete Newspaper, Magazine, Tv, Radio, Podcast, And Blog Press Coverage, Laura Kina Dec 2010

Complete Newspaper, Magazine, Tv, Radio, Podcast, And Blog Press Coverage, Laura Kina

Laura Kina

Visit the artist website for a comprehensive list of popular press coverage from 2002-present: http://www.laurakina.com/press.html


Wind Chime, Arlene Handschuch Dec 2010

Wind Chime, Arlene Handschuch

Arlene Handschuch

“Wind Chime” is a jacket and skirt ensemble for the professional woman that is suitable for day or evening wear. I was invited to create this ensemble as a guest designer for the Queen Sirikit Institute of Sericulture in Bangkok, Thailand. The purpose of the design was to showcase womenswear made from the highest quality Thai silk for an exhibition at the Association of Southeast Asian Nations conference to promote the new labeling standards and emblems recently developed by Thailand's Agriculture Ministry to authenticate Thai silk and protect it from imitations. The labeling emblems are affixed to the fabric ...


The Illusion Of Depth In Stained Glass: Techniques, Robert N. Oddy Dec 2010

The Illusion Of Depth In Stained Glass: Techniques, Robert N. Oddy

Robert Oddy

No abstract provided.


The Illusion Of Depth In Stained Glass: Exposed To The Light, Robert N. Oddy Dec 2010

The Illusion Of Depth In Stained Glass: Exposed To The Light, Robert N. Oddy

Robert Oddy

Stained glass artwork often looks flat. Of course, most stained glass panels are flat. What I mean is that the objects depicted look flat. In my own work, I have given a lot of attention to creating the illusion of depth. What is depth? It refers to the spacial dimension that recedes directly away from our eyes into the distance. If a picture has depth, we see some of its elements as solid objects; some appear closer than others; we are aware of foreground, middle distance and background.


Choosing Glass: Color And Impressions, Robert N. Oddy Dec 2010

Choosing Glass: Color And Impressions, Robert N. Oddy

Robert Oddy

In the last issue of Glass Craftsman, I said that, for me, the choice of glass is probably the most important factor contributing to artistry in stained glass. Tiffany’s company made glass for specific purposes, and raised the medium to a new level of expressive power. Now, we have a huge selection of stained glass available for our creative purposes. We just have to make the effort to familiarize ourselves to what is out there.


Spontaneity In Stained Glass Work, Robert N. Oddy Dec 2010

Spontaneity In Stained Glass Work, Robert N. Oddy

Robert Oddy

Stained glass does not lend itself to spontaneity. We design, thinking always about how the glass will be cut and what glass will be available to us. Then, the fabrication is a very slow and meticulous process, requiring accuracy of cutting so that the pieces fit together closely – glass doesn’t bend, stretch or squash. We have to do too much careful planning, and too much engineering! How can we make our subjects come alive, with movement and energy, when we cannot use our bodies to express these things while we are doing the art?


Grayson Perry, By Jacky Klein, Nedda Ahmed Jan 2010

Grayson Perry, By Jacky Klein, Nedda Ahmed

Nedda H Ahmed

No abstract provided.


Cover Image And Featured Artist - Zeek: A Jewish Journal Of Thought And Culture, Laura Kina Dec 2009

Cover Image And Featured Artist - Zeek: A Jewish Journal Of Thought And Culture, Laura Kina

Laura Kina

Kina, Laura “Sugar.” ZEEK: A Jewish Journal of Thought and Culture. Winter 2010. Cover image and p.62-65.


The Eye Of The Beholder, Linda Schulte-Sasse Oct 2009

The Eye Of The Beholder, Linda Schulte-Sasse

Linda Schulte-Sasse

No abstract provided.


A Non-Obvious Design - Reexamining The Origins Of The Design Patent Standard, Jason Du Mont Dec 2008

A Non-Obvious Design - Reexamining The Origins Of The Design Patent Standard, Jason Du Mont

Jason John Du Mont

No abstract provided.


Silk Softwear, Arlene Handschuch Dec 2008

Silk Softwear, Arlene Handschuch

Arlene Handschuch

SILK SOFTWEAR is “constructed from Thai silk bearing the Peacock Standard and directed toward the target market of career wear for women of the world” as specified in the Call for Submissions of the QUEEN SIRIKIT INSTITUTE OF SERICULTURE PEACOCK STANDARD OF THAI SILK COMPETITION 2009.
To view PHOTOGRAPHS and full abstract click on "Link" above.


At Home In The Museum: Pierre Loti, Self-Collected, Self-Possessed, Anthony Purdy Jan 2007

At Home In The Museum: Pierre Loti, Self-Collected, Self-Possessed, Anthony Purdy

Anthony Purdy

Suspended between metaphor and metonymy, between the spatial logic of the collection and the scenario of the personal that was the life of its owner, Pierre Loti's house in Rochefort participates in the same transvestism as his novels. This article explores the house museum as a heterotopia in which the synchronous time of the collection is open to disruption by the souvenir's reference to past events, to the biography of the collector.


Review Of Camille Patha: Geography Of Desire By Matthew Kangas, Jeffrey Johnson Dec 2006

Review Of Camille Patha: Geography Of Desire By Matthew Kangas, Jeffrey Johnson

Jeffrey A. Johnson

No abstract provided.


Reference & Instruction For African Visual Culture, Nedda Ahmed Dec 2006

Reference & Instruction For African Visual Culture, Nedda Ahmed

Nedda H Ahmed

No abstract provided.


The Fall And Rise Of "Owl", Robert N. Oddy Dec 2006

The Fall And Rise Of "Owl", Robert N. Oddy

Robert Oddy

This article is an account of the work of restoring Owl back to good health. Although the task was initially daunting–and I put it off for a while favoring new creations—it turned out to be interesting. I was able to relive the experience of building one of my early windows, going back to an early stage in my career as a stained glass artist. I hope you will find this account good reading. One of the features that makes the Owl repair interesting is that many parts of the window are plated. In other words, they are made ...


Man In A Suitcase: Tulse Luper At Compton Verney, Anthony Purdy, Bridget Elliott Jul 2005

Man In A Suitcase: Tulse Luper At Compton Verney, Anthony Purdy, Bridget Elliott

Anthony Purdy

Exploring in the gallery space the possibilities of an experimental intermediality, Luper at Compton Verney deploys the suitcase both as an emblem for key moments of twentieth-century history, including Auschwitz , and as a recurrent device in twentieth-century art. This essay examines the intersections of art and history in an exhibition space conceived as a complex heterotopian play of "other spaces," such as suitcase installations, vitrine displays, film projections, video screenings, drawings, and maps.


Moonglow, Arlene Handschuch Dec 2004

Moonglow, Arlene Handschuch

Arlene Handschuch

MOON GLOW is an eveningwear ensemble inspired by the colors and shapes in a 19th century Japanese wood block print of a moonlit lake and mountains, and by garment style lines from historic Chinese costume. Four fabric colors were used to create the geometric designs on the jacket to reflect the subtle shapes and colors in the picture. The asymmetric pattern on the center front and center back bands is an interpretation of the diagonal shapes of the landscape. The collar shape, and the contrasting front band, waistband, cuff, and hem are contemporary interpretations of style details seen in costume ...


Japanese Painting And National Identity: Okakura Tenshin And His Circle, Victoria Weston Dec 2003

Japanese Painting And National Identity: Okakura Tenshin And His Circle, Victoria Weston

Victoria Weston

Japanese Painting and National Identity is the first monograph in English to address the art and philosophy of a group of Meiji painters regarded by many as seminal figures in the development of modern Japanese painting. Lead by the outspoken and widely published art critic Okakura Tenshin, this group, including artists Yokoyama Taikan, Shimomura Kanzan, Hishida Shunsô, and others, wrestled with the vexing problem of how to modernize traditional media, methods, and styles while keeping the results authentically Japanese. Yet they saw themselves not just as artists but as servants of the nation. Their task, they believed, was to give ...