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"Denver Broncos: The Complete Illustrated History" offers a fascinating look at one of football's most beloved teams. Player profiles, season recaps, and stories behind the great moments are complemented by hundreds of glorious images.
In this exuberant picture book about transformation through art, Mira lives in a gray urban community until a muralist arrives and, along with his paints and brushes, brings color, joy, and hope to the neighborhood. What good can a splash of color do in a community of gray? As Mira and her neighbors discover, more than you might ever imagine! Based on the true story of the Urban Art Trail in San Diego, California, Maybe Something Beautiful reveals how art can inspire transformation—and how even the smallest artists can accomplish something big. Pick up a paintbrush and join the celebration! "Simply superb.” (Kirkus) Tomás Rivera Book Award * ALA Notable Children's Book * Chicago Public Library Best of the Best Books of the Year * Huffington Post Best Picture Books of the Year * Kirkus Best of the Year * School Library Journal Top 10 LatinX of the Year
Published to celebrate the opening of the Denver Art Museum’s newly renovated campus, this stunning volume highlights masterworks from the museum’s global art collection. Published to celebrate the opening of the Denver Art Museum’s newly renovated campus, this stunning volume highlights masterworks from the museum’s global art collection. Founded in 1893, the Denver Art Museum is now one of the largest art museums between Chicago and the West Coast. Featuring around 70,000 works, the collection represents cultures from Africa and Asia to Europe and Oceania, from the ancient past to the present day. Housed in landmark buildings by Daniel Libeskind and Gio Ponti, the museum also showcases work by regional artists, and provides invaluable ways for the community to learn about the world.
In 1928, the newly organized Denver Artists Guild held its inaugural exhibition in downtown Denver. Little did the participants realize that their initial effort would survive the Great Depression and World War II—and then outlive all of the group’s fifty-two charter members. The guild’s founders worked in many media and pursued a variety of styles. In addition to the oils and watercolors one would expect were masterful pastels by Elsie Haddon Haynes, photographs by Laura Gilpin, sculpture by Gladys Caldwell Fisher and Arnold Rönnebeck, ceramics by Anne Van Briggle Ritter and Paul St. Gaudens, and collages by Pansy Stockton. Styles included realism, impressionism, regionalism, surrealism, and abstraction. Murals by Allen True, Vance Kirkland, John E. Thompson, Louise Ronnebeck, and others graced public and private buildings—secular and religious—in Colorado and throughout the United States. The guild’s artists didn’t just contribute to the fine and decorative arts of Colorado; they enhanced the national reputation of the state. Then, in 1948, the Denver Artists Guild became the stage for a great public debate pitting traditional against modern. The twenty-year-old guild split apart as modernists bolted to form their own group, the Fifteen Colorado Artists. It was a seminal moment: some of guild’s artists became great modernists, while others remained great traditionalists. Enhanced by period photographs and reproductions of the founding members’ works, The Denver Artists Guild chronicles a vibrant yet overlooked chapter of Colorado’s cultural history. The book includes a walking tour of guild members’ paintings and sculptures viewable in Denver and elsewhere in Colorado, by Leah Naess and author Stan Cuba.
Fine art photography book of deserted basketball courts from all across America made during 8+ years and 200,000+ miles of travel by Rob Hammer
Two hundred masterpieces of Indigenous art from North America, accompanied by essays on the collection and the current issues affecting Indigenous communities. Here, Now: Indigenous Arts of North America at the Denver Art Museum features two hundred of the Denver Art Museum's most notable Indigenous artworks. Aimed at both longtime fans of Indigenous arts and those coming to them for the first time, this expansive book reinterprets the collection and offers new insights into the historic and contemporary work of Indigenous artists. The artworks--covering a range of media, artistic traditions, and time periods--are organized geographically and invite readers to make connections between the artworks and the places they were produced. The book also includes contributions by Indigenous authors reflecting on the collection and the current issues that affect contemporary Indigenous communities. Contributors include John P. Lukavic, Dakota Hoska (Oglála Lakȟóta), and Christopher Patrello; with Kathleen Ash-Milby (Navajo), Susan Billy (Hopland Band of Pomo Indians), Jeffrey Chapman (White Earth Ojibwe), Jordan Poorman Cocker (Kiowa/Tongan), Jasha Lyons Echo-Hawk (Seminole/Pawnee), Nicholas Galanin (Tlingit/ Unangax̂), Joe Horse Capture (A'aniiih), Terrance Jade (Oglála Lakȟóta), Zachary R. Jones, Sascha Scott, Rose Simpson (Santa Clara), Daniel C. Swan, and Norman Vorano. The book opens with a contribution from United States Poet Laureate Joy Harjo.
The first major visual and cultural exploration of the legacy of La Malinche, simultaneously reviled as a traitor to her people and hailed as the mother of Mexico An enslaved Indigenous girl who became Hernán Cortés's interpreter and cultural translator, Malinche stood at center stage in one of the most significant events of modern history. Linguistically gifted, she played a key role in the transactions, negotiations, and conflicts between the Spanish and the Indigenous populations of Mexico that shaped the course of global politics for centuries to come. As mother to Cortés's firstborn son, she became the symbolic progenitor of a modern Mexican nation and a heroine to Chicana and Mexicana artists. Traitor, Survivor, Icon is the first major publication to present a comprehensive visual exploration of Malinche's enduring impact on communities living on both sides of the US-Mexico border. Five hundred years after her death, her image and legacy remain relevant to conversations around female empowerment, indigeneity, and national identity throughout the Americas. This lavish book establishes and examines her symbolic import and the ways in which artists, scholars, and activists through time have appropriated her image to interpret and express their own experiences and agendas from the 1500s through today.