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O'Neil Ford (1905-1982) was the most influential Texas architect of the twentieth century. A technological innovator who bridged Texas' rural past and urban future, he taught three generations of architects how to adapt vernacular forms and materials to modern conditions. Widely known for his many projects in San Antonio and Dallas, Ford also designed buildings from Laredo, Texas, to Saratoga Springs, New York, over the course of a sixty-year career. In this book, David Dillon undertakes the first critical study of Ford's architecture in both its regional and national contexts. In particular, Dillon explores Ford's links to the regional and eclectic movements of the 1920s and 1930s, his use of postwar technology and materials (lift-slab, pre-stressed concrete shells, new metals), and his influence on other architects in Texas and the Southwest. Quotes from the author's wide-ranging interviews with O'Neil Ford in the last years of his life, as well as with his partners, relatives, friends, and critics, give the text firsthand vividness.
Richly illustrated, the book examines Wood's modernist tendencies, ranging from abstract design principles to the lasting influence of paintings by Georges Seurat and German Neue Schlichkeit artists. Also provides the most detailed account available of the artists working methods.
Sixteen-year-old Gabe Strickland travels a circuit of Southern carnivals and state fairs with his father, Roman, hawking tickets for Death Cars of Celebrities.
A young boy’s willful decision has significant ramifications for the man he becomes in this tale of disillusionment and despair. Lured by the liturgy of a foreign religion and by his desire to become a scholar, Kofi Baako rejects his family, his community, and his obligation as heir apparent to the Stool of Gyedu’s Shrine. However, as he approaches his last year in seminary, Kofi Baako abandons his dream of becoming a Catholic priest and moves to a remote town where his past is unknown. Tormented by his personal demons, Kofi Baako is unable to reconcile his emotions, and when an urgent telegram summons him back to his family and community, he is apprehensive about the journey and what he might find at its end. C.O.T. Appiah skillfully constructs a tale where readers are confronted by some of life’s fundamental questions. What constitutes our identity? What is our purpose? What are our true obligations, and how do we cope when we fail those whom we love?
"The original prose novel featuring multiple illustrations by Hellboy artist Mike Mignola, plus the one-shot comic The Widow and the Tank"--Dark Horse website.
"The idea for this book came about when architectural historian Kathryn O'Rourke and architect / photographer Ben Koush collaborated on a piece on postmodern architecture for Texas Architect. The two enjoyed working together--with O'Rourke writing and Koush providing visuals--and, together with UTP, developed the framework for a similarly rich, book-length treatment of modern architecture in Texas. Conceived to be accessible to a general readership, this project explores in photographs and words approximately fifty years of Texas modern architecture, from the 1930s to the 1980s. As O'Rourke writes, "In this period, modern architecture and Texas grew and changed at an astonishing pace. The state became a significant force in national and international affairs, chiefly as a consequence of the oil industry and the presence of politically powerful Texans in Washington, D.C. Major buildings, many designed by regionally and nationally-prominent architects, followed the money in the state as the influence and image of Texas grew. Relentless ambition, a forward-looking attitude, and a strong sense of place combined to make Texans particularly receptive to modern architecture's implication of newness, its future-oriented image, and its capacity to reinterpret historical forms in novel ways." While many books on Texas architecture focus on one building type (residential architecture, courthouses, and so on), this project adopts a broader lens. A dozen chapters presented under four thematic headings explore buildings through a variety of frameworks--there are the inescapable forces of heat and money, essential functions like caregiving and government, and groupings for leisure and multi-building sites such as museums and campuses. In each of these sections, the authors present a "constellation" of buildings, with one central example and several supporting ones. So, for instance, the "God" chapter presents O'Neil Ford's Little Chapel in the Woods in Denton as its main building, alongside the Antioch Baptist Church in San Antonio and the Congregation Rodef Shalom in Waco. This sort of geographical diversity, with big cities sitting alongside smaller and lesser studied places, runs through the volume as a whole"--
The Great Passion Play in historic Eureka Springs, Arkansas, was first performed on July 15, 1968. Since that day, over seven million visitors from all over the world have witnessed the largest outdoor drama in the United States. The play ambitiously dramatizes the last week of Jesus's life and his ascension. The staging incorporates over 200 cast members, live animals, period dress, and numerous special effects. Surrounding the Great Passion Play are the sacred projects of the Elna M. Smith Foundation, which were the vision of Gerald L. K. Smith and Elna M. Smith. These projects include the seven-story Christ of the Ozarks statue, the Sacred Arts Museum, the New Holy Land, and the Bible Museum. On average, over 100,000 people are drawn to these attractions every year.
In Making the Unknown Known, leading scholars throughout Texas explore the significant role women artists played in developing early Texas art from the nineteenth century through the latter part of the twentieth century. The biographies presented here allow readers to compare these women’s experiences across time as they negotiated the gendered expectations about artists in society at large and the Texas art community itself. Surveying the contributions women made to the visual arts in the Lone Star state, Making the Unknown Known analyzes women’s artistic work with respect to geographic and historical connections. Including surveys of the work of artists such as Louise Wüste, Emma Richardson Cherry, Eleanor Onderdonk, Grace Spaulding John, and others, it offers a groundbreaking assessment of the role women artists have played in interpreting the meaning, history, heritage, and unique character of Texas. It places women artists within the larger social and cultural contexts in which they lived. In that regard, it contains an analysis of their varied styles of art, the media they employed, and the subject matter contained in their art. It thus evaluates the contributions made by women artists to defining the nature of the wider Texas experience as an American region. Beautifully illustrated throughout with rich, full-color reproductions of the works created by the artists, this volume provides an enriched understanding of the important but underappreciated role women artists have played in the development of the fine arts in Texas. At last, the unknown story can be known.