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Author: John Chamberlain
Publisher: Princeton University Press
ISBN: 0691204489
Category : Art
Languages : en
Pages : 105
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Book Description
A selection of poems written by future sculptor John Chamberlain while he was at Black Mountain College in 1955.
Author: John Chamberlain
Publisher: Princeton University Press
ISBN: 0691204489
Category : Art
Languages : en
Pages : 105
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Book Description
A selection of poems written by future sculptor John Chamberlain while he was at Black Mountain College in 1955.
Author: Vincent Katz
Publisher: Mit Press
ISBN: 0262112795
Category : Education
Languages : en
Pages : 328
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Book Description
A veritable archive of material on the visual, performing, and literary artists who made Black Mountain College the most successful experiment in the history of American art education.
Author: Helen Anne Molesworth
Publisher: Yale University Press
ISBN: 0300211910
Category : Art
Languages : en
Pages : 401
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Book Description
La exposición refleja la historia del Black Mountain College (BMC), fundado en 1933 en Carolina del Norte y concebido como universidad experimental que situaba al arte en el centro de una educación liberal que pretendía educar mejor a los ciudadanos para participar en la sociedad democrática. La educación era interdisciplinaria y concedía gran importancia al debate, la investigación y la experimentación, dedicando la misma atención a las artes visuales –pintura, escultura, dibujo- que a las llamadas artes aplicadas –tejidos, cerámica, orfebrería, así como a la arquitectura, la poesía, la música y la danza.
Author: Samuel Chamberlain
Publisher: Architectural Book Publishing
ISBN: 1589797973
Category : Architecture
Languages : en
Pages : 193
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Book Description
For those who love New England, here is a matchless portrait by one of its most distinguished artists and observant admirers. Samuel Chamberlain photographed New England for more than forty years, examining it from every angle and capturing its unique spirit and enduring character with the lens of his camera. The image Mr. Chamberlain presents here is a distillation of his finest photographs of New England. From tall church spires rising above village greens to white farmhouses, secluded beaches, and historic harbors, Chamberlain reveals the secret of New England’s enduring beauty, strength, and pride.
Author: Sheldon Barr
Publisher: Princeton University Press
ISBN: 0691222673
Category : Art
Languages : en
Pages : 336
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Book Description
Murano Glass and its Collectors in Aesthetic America / Melody Barnett Deusner -- Venetian Mosaics and Glass in the United States, 1860-1917 / Sheldon Barr -- "Where Have Titian's Beauties Gone?" : Sargent and Whistler on the Streets of Venice / Stephanie Mayer Heydt -- Interweaving Worlds : Antique and Revival Lace in Italy and in the United States, 1872-1927 / Diana Jocelyn Greenwold -- Sparks of Genius : American Art and the Appeal of Modern Venetian Glass / Crawford Alexander Mann III -- Biographies / Brittany Emens Strupp, Crawford Alexander Mann III.
Author: Harold Carmichael Wylly
Publisher:
ISBN:
Category : Ethnology
Languages : en
Pages : 556
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Book Description
Author: Cormac McCarthy
Publisher: Vintage
ISBN: 0307762521
Category : Fiction
Languages : en
Pages : 349
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Book Description
25th ANNIVERSARY EDITION • From the bestselling author of The Passenger and the Pulitzer Prize–winning novel The Road: an epic novel of the violence and depravity that attended America's westward expansion, brilliantly subverting the conventions of the Western novel and the mythology of the Wild West. Based on historical events that took place on the Texas-Mexico border in the 1850s, Blood Meridian traces the fortunes of the Kid, a fourteen-year-old Tennesseean who stumbles into the nightmarish world where Indians are being murdered and the market for their scalps is thriving. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.
Author: John Chamberlain
Publisher:
ISBN: 9780892074266
Category : Sculpture, American
Languages : en
Pages : 247
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Book Description
"Often identified as the artist who successfully translated Abstract Expressionism into three dimensions, John Chamberlain wound through Franz Schubert, the U.S. Navy, hairdressing, the Art Institute of Chicago, and the Black Mountain College poets on his path to art. In Chicago, Chamberlain admired the work of Willem de Kooning and David Smith and learned to weld. Black Mountain instilled in him an intuitive collage sensibility and an approach to language that favored the visual appearance and sounds of words, dissociating them from their definitions. Chamberlain moved to New York in 1956 and within a few years hit upon the decision to utilize car metal as art material. His sculptures hewn from automobiles inevitably attracted the wrong interpretation; where Chamberlain employed creative re-use, others saw simply car crashes. He spent the rest of his life outrunning that association. His primary concern was and continued to be three-dimensional abstraction. More sensitive observers noted a kinship between his works and the dramatic modeling and contrapposto of Baroque art and sculptural drapery studies. With collage--the juxtaposition of heterogeneous elements--and abstraction--the elimination of figurative imager--as guiding principles, Chamberlain articulated the maxim that permeates his entire oeuvre: 'it's all in the fit.' Throughout his career, modulations in scale and medium provide a vital rhythm to his development. The sculptures range from the size of a fist to the girth of a generous hug to the height of a young, and eventually not so young, tree. Swelling and shrinking, in coats of multicolor, monochrome, or black-and-white paint, the survey of Chamberlain's career displays the integrity of the artist's gesture in diverse manifestations. Despite his commitment to abstraction, identifying anthropomorphic and zoomorphic traits in the lyrical, twisting forms is irresistible. Their playful titles are planted like so many red herrings: Belvo-Violet (1962), Miss Lucy Pink (1962), Rooster Starfoot (1976), Lord Suckfist (1989), and SPHINXGRIN TWO (1986/2010). Chamberlain brazenly defied the taboo of color in sculpture, a holdover from the rhetoric of medium specificity surrounding Abstract Expressionism (materials should be true to themselves, therefore color is the business of painting), which was still influential in the 1960s and considered one of the foremost problems in sculpture at the time. He originally circumvented the controversy by pleading that his color was found straight off of the assembly lines and highways of America. Shortly thereafter, he began to apply new paint to the metal, intervening in ever more elaborate ways with the surfaces of his materials. There are examples of airbrushing from the 1960s, drips and pours from the 1970s, sandblasting from the 1980s, and freehand and stenciled patterns from the 1990s forward. Amassing a body of work that could not be ignored, Chamberlain has been clumsily shoehorned into a variety of ill-fitting categories. Perhaps the most fertile of these is the retroactive link with Abstract Expressionism. His choice of vernacular materials also tied him to Pop. These same materials understood as products of standardized manufacturing associated him with Minimalism, encouraged by the unwavering critical support of Donald Judd. His method of assembly drew him toward Neo-Dada. He remains the inveterate rebel without a tribe, while still being recognized as a standard-bearer of sculptural practice. Driven by the pursuit of what he does not already know, the desire for unprecedented information and knowledge, Chamberlain turned away from car metal to experiment with new materials for a period. In the summer of 1966, he began squeezing and tying urethane foam. A succession of sculptures in other mediums followed: he crushed galvanized steel boxes that he had fabricated at the enlarged dimensions of a cigarette pack, he treated paper bags with a technique he called 'articulate wadding,' he melted and vacuum-mineral-coated Plexiglas boxes, and he crumpled aluminum. He also made films and videos, notably the cult art classic The Secret Life of Hernando Cortez (1968). By the mid-1970s he returned to automobile steel with renewed vigor. In recent years Chamberlain used vintage cars (formerly junk) of similar stock to the materials he started out with in the late 1950s. The sculptures grew in scale and possess a new-found gravity. He also embarked on the production of monumental aluminum sculptures, based on works that fit in the palm of the hand, which he had been making since the mid-1980s. His creations of the last five years stand as self-assured totems or sentinels at the culmination of nearly six decades of art making. This retrospective gathering of works celebrates the remarkable legacy of John Chamberlain, whose passing on December 21, 2011, we acknowledge with heartfelt remembrance."--Museum website.
Author: Martin B. Duberman
Publisher:
ISBN: 9780704500617
Category :
Languages : en
Pages : 0
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Book Description
Author: Fred Saberhagen
Publisher: JSS Literary Productions, LLC
ISBN: 1937422607
Category : Fiction
Languages : en
Pages : 149
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Book Description
Chup begged the Lady Charmian; then he turned and knelt down slowly, face toward the cliff. Charmian was at his right, holding the long bade point down at the ground. He said, “Now, about this little surgery I need … I suppose a single stroke would be too much to ask for. But more than two or three should not be needed, the blade is very heavy and quite sharp.” Without turning to see her face he added, “You are the most beautiful, and most desirable by far, of all the women I have ever known.” From the corner of his eye he saw Charmian losing her hesitation, gathering resolve, straightening her thin wrists in a tight two-handed grip to lift the weapon’s weight. Chup studied the details of the rock wall before him He had knelt down facing this way so that his hed would not roll over— Enough of that. He was Chup. He would not even close his eyes. The Demon Lord Zapranoth will devour you, if the Beast Lord Draffut cannot save you.
