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While the importance of collections has been evident in the sciences and humanities for several centuries, the social and cultural significance of collecting practices is now receiving serious attention as well. As reflected in programs like Antiques Roadshow and American Pickers, and websites such as eBay, collecting has had a consistent and growing presence in popular culture. In tandem with popular collecting, institutions are responding to changes in the collecting environment, as library catalogs go online and museums use new technologies to help generate attendance for their exhibits. In Contemporary Collecting: Objects, Practices, and the Fate of Things, Kevin M. Moist and David Banash have assembled several essays that examine collecting practices on both a personal and professional level. These essays situate collectors and collections in a contemporary context and also show how our changing world finds new meaning in the legacy of older collections. Arranged by such themes as “Collecting in a Virtual World,” “Changing Relationships with Things,” “Collecting and Identity—Personal and Political,” and “Collecting Practices and Cultural Hierarchies,” these essays help illuminate the role of objects in our lives. Covering a breadth of interdisciplinary perspectives and subjects—from PEZ candy dispensers and trading cards to sports memorabilia and music—Contemporary Collecting will be of interest to scholars of cultural studies, anthropology, popular culture studies, sociology, art history, and more.
A splendid (and giftable) visual guide to the beautifully convoluted world of corkscrews Ever since the standardized wine bottle came into use in the eighteenth century, thirsty people have sought a convenient means of removing its cork stopper. At first they employed whatever was at hand—including the helical gun screws used to clean out firearms—but the patent corkscrew emerged by 1795 and soon multiplied into more permutations than the proverbial better mousetrap. In Uncorked, Marilynn Gelfman Karp uses her own collection of corkscrews—carefully chosen both for their inventiveness and for their decorative qualities—to trace the history and evolution of this curious tool. She establishes a taxonomy of the corkscrew, based on the fundamental characteristics of handle, shaft, and screw, and then presents more than 650 individual specimens by category. They range from the simplest “basic T” models to the most whimsical flights of fancy (a folding pair of legs, a seahorse) and the most elaborate mechanical contrivances. Each example is illustrated with superb color photography and fully described. Uncorked is at once a serious contribution to the history of material culture, and a delight to page through. It will be an essential reference for helixophiles (as collectors of these gadgets are called) and an agreeable gift for any corkscrew-wielding wine lover.
In this first book of interviews with visual artists from across Texas, more than sixty artists reflect on topics from formative influences and inspirations to their common engagement with found materials. Beyond the art itself, no source is more primary to understanding art and artist than the artist’s own words. After all, who can speak with more authority about the artist’s influences, motivations, methods, philosophies, and creations? Since 2010, Robert Craig Bunch has interviewed sixty-four of Texas’ finest artists, who have responded with honesty, clarity, and—naturally—great insight into their own work. None of these interviews has been previously published, even in part. Incorporating a striking, full-color illustration of each artist’s work, these absorbing self-examinations will stand collectively as a reference of lasting value.
One Coin is Never Enough presents an upbeat, friendly analysis that is a celebration of the collector. Emphasis is placed on the venerable skills that collectors need to cultivate to get started. Michael S. Shutty Jr., Ph.D. introduces the idea that coins are transformed into something special when numismatists choose to collect them. In this way, the collector is placed front and center. Michael uses the term "marvelous" to capture the allure that coins have for sharing secrets about the past—but here again, he gives coin collectors all the credit for telling their stories. This is a unique approach in numismatic writing, as more often than not, the coins are given precedence! After reading this book, you will realize that it is the other way around. What better way is there to get started or re-invigorated with collecting coins?
This comprehensive, up-to-date art methods text presents fundamental theories, principles, creative approaches, and resources for art teaching in elementary through middle school.
One dealer's journey from the populist mayhem of flea markets to the rarefied realm of auctions reveals the rich, often outrageous subculture of antiques and collectibles. Millions of Americans are drawn to antiques and flea-market culture, whether as participants or as viewers of the perennially popular Antiques Roadshow or the recent hit American Pickers. This world has the air of a lottery: a $20 purchase might net you four, five, or six figures. Master dealer Curt Avery, the unlikely star of Killer Stuff and Tons of Money, plays that lottery every day, and he wins it more than most. Occasionally he gets lucky, but more often, he draws on a deep knowledge of America's past and the odd, fascinating, and beautiful objects that have survived it. Week in, week out, Avery trawls the flea and antiques circuit-buying, selling, and advising other dealers in his many areas of expertise, from furniture to glass to stoneware, and more. On the surface, he's an improbable candidate for an antiques dealer. He wrestled in high school and still retains the pugilistic build; he is gruff, funny, and profane; he favors shorts and sneakers, even in November; and he is remarkably generous toward both competitors and customers who want a break. But as he struggles for a spot in a high-end Boston show, he must step up his game and, perhaps more challenging, fit in with a white-shoe crowd. Through his ascent, we see the flea-osphere for what it truly is-less a lottery than a contact sport with few rules and many pitfalls. This rich and sometimes hilarious subculture rewards peculiar interests and outright obsessions-one dealer specializes in shrunken heads; another wants all the postal memorabilia he can get. So Avery must be a guerrilla historian and use his hard-earned knowledge of America's past to live by and off his wits. Only the smartest survive in one of America's most ruthless meritocracies. Killer Stuff and Tons of Money is many things: an insider's look at a subculture replete with arcane traditions and high drama, an inspiring account of a self-made man making his way in a cutthroat field, a treasure trove of tips for those who seek out old things themselves, and a thoroughly fresh, vibrant view of history as blood sport.
Presents photographs of mischievous kittens and cats, along with quotations describing the intentions and attitudes of the feline subjects.
In the face of unparalleled growth and a truly global audience, the popularity of contemporary art has clearly become a double-edged affair. Today, an unprecedented number of museums, galleries, biennial-style exhibitions, and art fairs display new work in all its variety, while art schools continue to inject fresh talent onto the scene at an accelerated rate. In the process, however, contemporary art has become deeply embedded not only in an expanding art industry, but also the larger cultures of fashion and entertainment. Buskirk argues that understanding the dynamics of art itself cannot be separated from the business of presenting art to the public. As strategies of institutional critique have given way to various forms of collaboration or accommodation, both art and museum conventions have been profoundly altered by their ongoing relationship. The escalating market for contemporary art is another driving force. Even as art remains an idealized activity, it is also understood as a profession, and in increasingly obvious ways a business, particularly as practiced by star artists who preside over branded art product lines.