Arts and Humanities Commons^™

Alternate Realities, Nora Eccles Harrison Museum Of Art

Exhibit Catalogues

With expertise, enthusiasm, and a keen eye, the Caine Foundation has, for the past fifteen years, sought out key Western artworks that offer new twists on the story of twentieth-century American art. The core of the collection explores certain key art histroical moments, as evidenced by healthy examples of Los Angelse Post-Surrealism, Santa Fe Transcendentalism, Bay Area Abstract Expressionism, and San Francisco Funk.

Behind The Lines: Drawings And Objects, Michael David Hall

Exhibit Catalogues

Behind the Lines is an apt description for the Salt Lake Art Center's exhibition of Hall's drawings and sculptures.

Impressions In Clay: Kyung-Hwan Won, Nora Eccles Harrison Museum Of Art

Exhibit Catalogues

Presentation of Associate Professor of Ceramics, Kyung-Hwan Won, including list of exhibitions in his career.

Accounts, Maureen Cummins, Special Collections, Fleet Library

Artists' Books

1 book, 39 pages. "..printed by Maureen Cummins in the summer of 1999 at Oregon College of Art and Craft. The found ledger pages are financial accounts kept by the cotton-trading company of C.A. Burgess, and span the years 1862 to 1868. The text is excerpted from the WPA Oklahoma Slave Narratives.."--Colophon. The book was printed in an edition of ten copies, bound into boards covered with indigo papers handmade by Dieu Donne. The type is Gill Sans Bold, handcast by Michael Bixler. You hold copy number 3"--Colophon.

Japan: The World Of My Dreams, Nicholas Felton, Fleet Library, Special Collections, Jan Baker

Culture

This book was completed for Jan Baker's artists' book class.

Relation, Anne Lovett, Women's Studio Workshop, Special Collections, Fleet Library

Artists' Books

[12] pages : illustrations. "A Sunburn Editions Book." Black boards with no spine connected by one sheet (2 pages) folded accordion style with glued-on flags, offset duotone on Mowhak Superfine paper. Printing method: Offset lithography, duotone. Binding: Concertina, case bound. Structure: Fold book (flag book).

Ivy Leaves, 1998-1999, Ivy Leaves Editorial Staff

Ivy Leaves

The 1999 edition of the Anderson College journal of art and literature, Ivy Leaves.

The names of the known editors for this issue of Ivy Leaves were Asa Moran, Christopher Fyock, Jennifer Brown, Andy Burleson, Brian Gaines, David Parker, Emily Reese, Jill Roberts, Heather Rollins, Jeanna Simmons, Susan Wooten, and Wayne Cox. Cover art by Jill Roberts.

Evolution By Numbers: An Exploration Of Functional Pottery, Chad W. Wolf

School of Art, Art History, and Design: Theses and Student Creative Work

The functional pottery I make is work which is profoundly influenced by the groupings of objects that I have both consciously and unconsciously looked at in my eleven years of retail experience at Menards. Most of these objects are unaesthetic individually, but when stacked and grouped together, become unusually compelling when seen from a distance, or in the field of peripheral vision. When I understood that this aspect of my life was informing my work, I became more attentive to the details like the negative spaces created around and between objects, and the intervals and spacings in and around objects. …

Circumstantial Evidence, Paula Day

School of Art, Art History, and Design: Theses and Student Creative Work

The American Heritage Dictionary defines the relevant terms as follows: Circumstantial: 1. Of, relating to, or dependent on circumstances. 2. Of no primary significance; incidental. 3. Complete and particular; full of detail. 4. Full of ceremonial display. Pomp and circumstance.

Circumstantial evidence: n. Law. Evidence not bearing directly on the fact in dispute but on various attendant circumstances from which the judge or jury might infer the occurrence of the fact in dispute.

Evidence: 1. A thing or things helpful in forming a conclusion or judgement. 2. Something indicative; an outward sign. ~videnced, -dencing, -dences. 1. To indicate • clearly; …

The Well Considered Pot, Matthew Lee Kelleher

School of Art, Art History, and Design: Theses and Student Creative Work

Utilitarian objects are accessible and universal. Their forms are recognizable and their utility makes them inclusive. I choose to make utilitarian objects in order to use these characteristics as a foundation for my ideas. This decision invites the viewer to discover my visual and tactile interests.

Process is the vehicle I use for expression. When I use the wheel to create form, I respond to the clay as it passes through my fingers and tools. I search for a clean line that displays a balance of volume pushing out and a force squeezing in. When I work with molds, I …

Maps To Places You Couldn't Find, Michael J. Strand

School of Art, Art History, and Design: Theses and Student Creative Work

I have been searching for a common ground. A place where my ideas, in all their diversity exist in harmony. I am compelled by memory and its relation to history. In Minnesota there is a group of rune-stones that are said to bear the inscription of ancient people from Northern Europe. They exist in a wonderful state. Part mythical and part historical, their authenticity is uncertain. With these rune-stones as inspiration my work acts as a transmitter of infonnation lost, or memories forgotten.

Over the past 18 months I have made work that exists outside of categories, merging image and …

Storytelling: Artist's Books, Nancy Jo Ann Steele

School of Art, Art History, and Design: Theses and Student Creative Work

My thesis exhibition presents mixed media artist's books inspired by autobiographical stOlies originating from my family. These stories relate to the lives of my family and the natural environment of my home in a small-town farming community with deep Appalachian roots. With a sense of humor and solemnity, I make artist's books about the events and stories related to our religion, work, animals, neighbors, land and superstitions .

I mournfully watch the slow disintegration of our way of life. Vital aspects of our lives, such as working on the farm as a family, speaking with an accent, and making much …

Rest For The Eye, Jason L. Briggs

School of Art, Art History, and Design: Theses and Student Creative Work

My work is the product of two chief motivations: a desire to touch and a compulsion to create. Beyond any external inspiration lie these two gut-level responses. The obsessive character of these drives is reflected through an extravagant covering of surface with minute, repetitive markings. The result is intensely focused, highly articulated work that combines passion, beauty, and diverse content.

The very nature of the surfaces--pushed, poked, scored, marked, indented, smoothed, carved, wiped, and sanded--are taken to extremes. As the maker, I am both captivated and at ease; it is just me and the clay. The act of texturing becomes …

Necessary Fictions, Yvonne M. Meyer

School of Art, Art History, and Design: Theses and Student Creative Work

Photography is a compelling process for exploring, editing, and clarifying. It acts as an increasingly fine sifter of experience. Life is vast 3-D motion full of colors, sounds, expectations, intensities, temperatures, textures, and so many constant sensations. Simplify. Squinting through the viewfinder, I frame visual segments and record their rectangular impressions in black and white. Light and the chemistry of the darkroom transform pieces of what had been in dynamic flow to pauses lying flat on paper. Time, color, and motion now suspended in the print are quiet to allow consideration and sometimes insight.

I leave the darkroom with another …

Textile Society Of America Newsletter 11:1 – Winter 1999, Textile Society Of America

Textile Society of America: Newsletters

TSA ’98: Wrapping up the New York Symposium
Studying Textiles at the University of Wisconsin - Madison
TSA News
Letter from the President
Career and Research Opportunities
Exhibition Reviews
Publication Opportunities
Calls for Papers
Conferences
Exhibitions
Lectures/Workshops
Tours/Courses
Membership Application
Membership Survey

Robert Henri: A Nebraska Legend, Nancy H. Dawson

Sheldon Museum of Art: Catalogs and Publications

Robert Henri: a Nebraska Legend, the twelfth in a series of Sheldon Statewide exhibitions, is a result of the uniquely successful partnership between the staff of the Sheldon Memorial Art Gallery and Sculpture Garden and our principal funding support group, the Nebraska Art Association, a nonprofit volunteer membership organization dedicated to the advancement of the visual arts in Nebraska, and twenty-two Nebraska communities that have served as exhibition venues since the inception of the program in 1987. Local sponsors who support the exhibition in their communities, and volunteer docents who disseminate important information to the school children and adults …

The Visual Culture Of Robert Rauschenberg, Daniel A. Siedell

Sheldon Museum of Art: Catalogs and Publications

The importance of Robert Rauschenberg to the history and development of 20th-century American art has been firmly established for well over three decades. It is, however, the nature of his importance that remains, in large part, unresolved. The recent retrospective exhibition of the artist's work at the Solomon R. Guggenheim Museum in New York in 1997- 98 represents to date the most ambitious attempt to document comprehensively the multiple aesthetic activities of one of the most complex and diverse artists in the history of modern art. By focusing on his involvement in performances, sculpture, and unique and creative engagement with …

Visionaire 27: Movement, Stephen Gan, Cecilia Dean, James Kaliardos, Greg Foley, Alexander Mcqueen

Visionaire

1 volume (unpaged) : chiefly color illustrations ; 32 cm, Limited edition of 6000 numbered copies. "Contributor list: Alexander McQueen, Alex Gonzales, Chris Levine, Fabien Baron, Francois Berthoud, Hussein Chalayan, J. Abbott Miller, Jeremy Scott, Karl Templer, Katy England, Maison Martin Margiela, Marcus Mam, Marcus Tomlinson, Mario Testino, Martin Margiela, Mert Alas & Marcus Piggott, Nick Knight, Paul Carlos, Raul Martinez, Ross Bleckner, Sean Ellis, Steven Klein, Steven Mdisel, Thierry Perez, Tony Oursler, Tony Payne, Victoria Bartlett, WK Eddy Desplanques."--Publisher's Web site "One of our most conceptual issues - not only because it was based on the abstract notion of …

Erling Sjovold: Recent Paintings, University Of Richmond Museums

Exhibition Brochures

Erling Sjovold: Recent Paintings

October 16 to December 11, 1999

Marsh Art Gallery

Introduction

Erling Sjovold's exhibition features his recent watercolors and oil paintings, works where the artist's desire to "slow down time" for reflection is the basis for images that even include the element of time as subject matter, both literally and figuratively. Like many artists that are described as "second sight artists," he creates images that require careful looking beyond the surface realism, works that do not reveal their full statements at first sight. His paintings are rich with layers of meaning that lead the viewer to deeper …

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 20 (1999), Virginia Gunn, Molly Miles, Valerie S. Rake, Jenna Tedrick Kuttruff, Zöe C. Smith, Carolyn O'Bagy Davis, Cynthia Dimock-Quaglia

Uncoverings Journal

Preface by Virginia Gunn

Research Papers

The Kezia D. Benton Quilt: A Life Uncovered by Molly Miles

A Thread of Continuity: Quiltmaking in Wayne County, Ohio, Mennonite Churches, 1890s-1990s by Valerie S. Rake

Three Louisiana Acadian Colonnade Quilts: Adding Pieces to a Puzzle by Jenna Tedrick Kuttruff

Between Two Worlds: The Quilts and Life of Caroline Hoffman Christman Chew by Zoe C. Smith

Goldie Tracy Richmond: Indian Trader and Quiltmaker by Carolyn O'Bagy Davis

The "Vampire" Quilt: A Material-Culture Study by Cynthia Dimock-Quaglia

Authors and editor

In memoriam: Alma Wallace Lesch (1917-1999)

Indez

Paintings, Susan L. Arthur

School of Art, Art History, and Design: Theses and Student Creative Work

This body of work is an endeavor to explore the connection of form to environment that mirrors my interaction with the external. In painting, I limit means in terms of subject and range of color in order to allow deeper examination of my perceptions. By imposing such external restrictions, a new awareness in painting emerges.

The insistence on the connection of the form to its surroundings is key to the formal and emotional content of the paintings. Form- frequently a chair- is found in relation to the color, intensity, and temperature of space and other forms . In finding incremental …

Full Issue

Inscape

No abstract provided.

Contributors

Inscape

No abstract provided.

Ken Bishop 4, Ken Bishop

Inscape

No abstract provided.

The Role Of Artists In Ship Camouflage During World War I, Roy R. Behrens

Faculty Work

Experiments in ship camouflage during World War I were necessitated by the inordinate success of German submarines (called "U-boats") in destroying Allied ships. Because it is impossible to make a ship invisible at sea, Norman Wilkinson, Everett L. Warner and other artists devised methods of course distortion in which high-contrast, unrelated shapes were painted on a ship's surface, thereby confusing the periscope view of the submarine gunner.

Nexus, Winter 1999, Wright State University Community

Nexus Literary Journal

Nexus is a magazine that began as an insert in the Wright State Guardian student newspaper in 1965 and has since been published semi-regularly. It began only accepting creative writing, but has since expanded to include illustrations, photography and other non-written art forms. Today, it is published in a digital format and accepts submissions from around the country, though it maintains its commitment to the Wright State Community.

Blanket Statements, Issue 59, Winter 1999

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 59, Winter 1999

Normal Editions Workshop Newsletter, 1999, Wonsook Kim School Of Art And Design

Normal Editions Workshop Newsletter

Annual newsletter for the Normal Editions Workshop, School of Art, Illinois State University.

Looking At The Visual: Art As Object, Art As Experience, University Of Richmond Museums

Exhibition Brochures

Looking at the Visual: Art as Object, Art as Experience

October 16 to December 11, 1999

Marsh Art Gallery

Introduction

How do you read a painting? A sculpture? A print? Can they be studied the way that we study books? We live in a very visual culture, but we seldom study why a particular form, color, or image has an effect upon us. Visual art has a language, or series of languages, just like written texts. The languages can be more immediate than words, and they can tell us things about ourselves, the world around us, imaginary and supernatural worlds, …

The Herbert Pickering Lewis Collection Of Talavera Poblano, Lynn Carlson

Theses

This thesis describes a one hundred and seventy-nine piece collection of ceramics, the Herbert Pickering Lewis Collection at the Art Institute of Chicago. The collection arrived in Chicago seventy-five years ago. The objects were made in Mexico.

Mexico, once home to the deities, sports and commerce of the Aztec, Maya and Olmec civilizations, was settled by Europeans early in the sixteenth century

. . . and New Spain became the first Spanish American viceroyalty, eventually including all of ancient Mesoamerica, northern Mexico, the Caribbean and most of the south-western USA (see Hoggart, page 230).

Though the political map has changed …