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"The poems collected in The Throne of the Third Heaven of the Nations Millennium General Assembly demonstrate anew the rare incantatory power and stylistic virtuosity of Johnson's work. As a writer, he looks away from nothing in experience, and transforms the stuff of everyday life into something vibrant, wonderful, and strange. These are poems of grief and regret, of nightmare and acceptance, of redemption and the possibility of grace. They present a vision of an American landscape at once unique and startling, terrifying and true."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This “luminescent” (Kirkus Reviews) story of anger and art, loss and redemption will appeal to fans of Lisa Graff’s Lost in the Sun and Vince Vawter’s Paperboy. NOMINATED FOR 16 STATE AWARDS! AN ALA NOTABLE BOOK AN ILA TEACHERS CHOICE A KIRKUS REVIEWS BEST BOOK OF THE YEAR Arthur T. Owens grabbed a brick and hurled it at the trash picker. Arthur had his reasons, and the brick hit the Junk Man in the arm, not the head. But none of that matters to the judge—he is ready to send Arthur to juvie forever. Amazingly, it’s the Junk Man himself who offers an alternative: 120 hours of community service . . . working for him. Arthur is given a rickety shopping cart and a list of the Seven Most Important Things: glass bottles, foil, cardboard, pieces of wood, lightbulbs, coffee cans, and mirrors. He can’t believe it—is he really supposed to rummage through people’s trash? But it isn’t long before Arthur realizes there’s more to the Junk Man than meets the eye, and the “trash” he’s collecting is being transformed into something more precious than anyone could imagine. . . . Inspired by the work of folk artist James Hampton, Shelley Pearsall has crafted an affecting and redemptive novel about discovering what shines within us all, even when life seems full of darkness. “A moving exploration of how there is often so much more than meets the eye.” —Booklist, starred review “There are so many things to love about this book. Remarkable.” —The Christian Science Monitor
"Bill Traylor (ca. 1853-1949) is regarded today as one of the most important American artists of the twentieth century. A black man born into slavery in Alabama, he was an eyewitness to history--the Civil War, Emancipation, Reconstruction, Jim Crow segregation, the Great Migration, and the steady rise of African American urban culture in the South. Traylor would not live to see the civil rights movement, but he was among those who laid its foundation. Starting around 1939, Traylor--by then in his late eighties and living on the streets of Montgomery--took up pencil and paintbrush to attest to his existence and point of view. In keeping with this radical step, the paintings and drawings he made are visually striking and politically assertive; they include simple yet powerful distillations of tales and memories as well as spare, vibrantly colored abstractions. When Traylor died, he left behind more than one thousand works of art. In Between Worlds: The Art of Bill Traylor, Leslie Umberger considers more than two hundred artworks to provide the most comprehensive and in-depth study of the artist to date; she examines his life, art, and powerful drive to bear witness through the only means he had, pictures. The author draws on a wealth of historical documents--including federal and state census records, birth and death certificates, slave schedules, and interviews with family members-- to clarify the record of Traylor's personal history and family life. The story of his art opens in the late 1930s, when Traylor first received attention for his pencil drawings on found board, and concludes with the posthumous success of his oeuvre"--
"Focusing primarily, though not exclusively, on the southeastern United States, the book examines works ranging from James Hampton's well-known Throne of the Third Heaven of the Nations Millennium General Assembly (now part of the Smithsonian collection), to several elaborately decorated yards and gardens, to smaller-scale acts of commemoration, protection, and witness. The authors show how the artful arrangement and adornment of everyday objects and plants express both the makers' own experiences and concerns and a number of rich and sustaining cultural traditions. They identify a "lexicon" of material signs that are frequently and consistently used in African American culture and art and then show how such elements have been used in various individual works and what they mean to the practitioners themselves."--BOOK JACKET.
"An unorthodox investigative literary biography of a mysterious graphomaniac whose nearly 150 diaries are rescued from a dumpster by the author"--
A book about the shadow side of writing, with asemic art by Mirtha Dermisache, Jean Dubuffet, Brion Gysin, Susan Hiller, Henri Michaux and more Looking at the rich tradition of art, from the early 20th century to the present, in which writing sheds its communicative function and pursues the inarticulable, Writing by Drawingexplores the fertile tension between the semantic and the uncharted territory of automatism, mark-making and scribbles--the "asemic." Artists include: Douglas Abdell, Vincenzo Accame, Rosaire Appel, Tchello d'Barros, Gianfranco Baruchello, Tomaso Binga, Irma Blank, Nick Blinko, Alighiero Boetti, Marcia Brauer, Frédéric Bruly Bouabré, Elijah Burgher, Axel Calatayud, Gaston Chaissac, Laura Cingolani, Guy de Cointet, Aloïse Corbaz, Dadamaino, Betty Danon, Hanne Darboven, Michel Dave, Michael Dean, Mirtha Dermisache, Emmanuel Derriennic, Jean Dubuffet, Giordano Falzoni, León Ferrari, Chiara Fumai, Pepe Gaitán, Jill Galliéni, Ryan Gander, Anne-Marie Gbindoun, Marco Giovenale, Rafael González, Giorgio Griffa, Mariangela Guatteri, Gustav, Elisabetta Gut, Brion Gysin, Ana Hatherly, Emma Hauck, Takanori Herai, Joseph Heuer, Susan Hiller, Steffani Jemison, Carlo Keshishian, Henri Michaux, Miriam Midley, Bruno Munari and more.
Some 250 works explore three distinct periods in American history when mainstream and outlier artists intersected, ushering in new paradigms based on inclusion, integration, and assimilation. The exhibition aligns work by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican with both historic folk art and works by self-taught artists ranging from Horace Pippin to Janet Sobel and Joseph Yoakum. It also examines a recent influx of radically expressive work made on the margins that redefined the boundaries of the mainstream art world, while challenging the very categories of "outsider" and "self-taught." Historicizing the shifting identity and role of this distinctly American version of modernism's "other," the exhibition probes assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. The exhibition is curated by Lynne Cooke, senior curator, special projects in modern art, National Gallery of Art.--Provided by publisher.
Trenton Doyle Hancock has created a world of characters through drawings, paintings, and installations and this "field guide" immerses readers in his creative process and inspirations. Trenton Doyle Hancock has transformed his childhood love of comic books, toys, and superhero culture into his own creation myth. That mythology and the fascinating, multimedia iterations that it has sparked are told in this captivating and revealing book. Accompanied by images of his paintings, drawings, and installations alongside pictures of his own vast toy and pop culture collections as well as pages from his forthcoming graphic novel, the artist traces the birth of the Mounds and Vegans--the plants and mutants that are forever at war--through which he explores good, evil, authority, race, moral relativism, and religion. Hancock takes readers inside his largest exhibition yet at MASS MoCA--a multi-media work that blends sculpture, painting, and installations to bring the Mounds' world to life. Included in this book are contributions by the exhibition curator Denise Markonish, an art historical essay about Hancock's paintings, and illuminating conversations between Hancock and some of his influences, including Frank Oz. With this book, Hancock merges his personal history with his imagination to create a rich panoply of color, image, and language. Copublished by MASS MoCA and DelMonico Books