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This volume contains 21 vignettes on the history and literature of Central New York, illustrated by 25 drawings and paintings by Robert Cimbalo, graphics artist and painter.
How to understand color’s impact on our perception of a place—and capture its palette in watercolor landscapes and cityscapes. Whenever we first encounter a new place, whether landscape or cityscape, one of the most immediate and powerful sensations comes from its colors, or the palette of colors, which profoundly influence our reaction to and sense of a space. In Local Color, designer and educator Mimi Robinson teaches us not only how to see the colors around us but also how to capture and record them in watercolor. Regardless of your level of painting expertise, Robinson will quickly have you creating personal memories of time, place, and travel through a series of self-guided exercises and illustrated examples.
There are now many books on postcolonial theory, yet relatively few of them gather together sustained, dynamic and insightful analyses of visuality, art and art history outside of hegemonic Euro-American themes and concerns. Global and Local Art Histories explores what it means to have a global and local experience of art. The 15 essays published here suggest ways of interpreting works of art from a broad range of cultural perspectives, many of them transcultural. Here are voices contesting concepts of history and culture, evaluating and exploring global and local identities in a changing world. Because of the variety of different approaches and cultural perspectives that Global and Local Art Histories brings together, the book presents a unique opportunity to question what we mean by that dangerously globalising category: “the work of art” and “art history” exploring “g-local” approaches that challenge such falsely universalising rubrics.
In big cities, major museums and elite galleries tend to dominate our idea of the art world. But beyond the cultural core ruled by these moneyed institutions and their patrons are vibrant, local communities of artists and art lovers operating beneath the high-culture radar. Producing Local Color is a guided tour of three such alternative worlds that thrive in the Chicago neighborhoods of Bronzeville, Pilsen, and Rogers Park. These three neighborhoods are, respectively, historically African American, predominantly Mexican American, and proudly ethnically mixed. Drawing on her ethnographic research in each place, Diane Grams presents and analyzes the different kinds of networks of interest and support that sustain the making of art outside of the limelight. And she introduces us to the various individuals—from cutting-edge artists to collectors to municipal planners—who work together to develop their communities, honor their history, and enrich the experiences of their neighbors through art. Along with its novel insights into these little examined art worlds, Producing Local Color also provides a thought-provoking account of how urban neighborhoods change and grow.
"The di Rosa collection reflects the unique aesthetic of California modern art and includes pivotal works by celebrated artists Robert Arneson, Roy De Forest, Robert Hudson, William T. Wiley, and many others." "Local Color presents a sampling of the best of the di Rosa collection, featuring the work of seventy-six California artists. Compelling, amusing, and enlightening pieces, each accompanied by a brief essay about the artist."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Originally developed in the 18th century as a visual supplement to botanical nomenclature, botanical illustration and art uniquely fuse art and science by documenting the parts, details, and life cycles of plant species. In Drawing and Painting Botanicals for Artists, eminent botanical artist and veteran workshop instructor Karen Kluglein reveals her secrets for rendering leaves, flowers, berries, and branches both accurately and beautifully. The book begins with a brief history of the art form, followed by guidance on developing observational skills for this genre, key botanical terms and concepts, and the differences among botanical illustration, botanical art, and flower painting. The chapters that follow offer detailed guidance and demonstrations for drawing and painting botanicals in a variety of mediums: Drawing. Explore loose gestural drawing, precise measuring and rendering, and working from photographs with graphite, colored pencil, finepoint markers, pen and ink, and silverpoint. Painting. Master color mixing, washes, layering, gradations, values, and adding details in watercolor, gouache, and acrylic, plus guidance on adding “personality” to your work and knowing when a painting is done. Drawing and Painting Botanicals for Artists shows artists at all skill levels how to translate careful observations into stunning works of art.
This book explores the attribution and local negotiation of cultural valuations of artistic and art-institutional practices around the world, and considers the diverse ways in which these value attributions intersect with claims of universality and cosmopolitanism. Taking Michael Herzfeld’s notion of the “global hierarchy of value” as point of departure, the volume brings together six empirical studies of the collection, circulation, classification and exhibition of objects in present-day Brazil, China, India, Japan, South Africa and Indigenous Australia in light of Europe’s loss of global hegemony. Including reflections by a number of senior scholars, the chapters demonstrate that the question of valuation lies at the heart of artistic and art-institutional practices writ large – including museum practices, museum architecture, galleries, auction houses, art fairs and biennales.
The term "Office Automation" implies much and means little. The word "Office" is usually reserved for units in an organization that have a rather general function. They are supposed to support different activities, but it is notoriously difficult to determine what an office is supposed to do. Automation in this loose context may mean many different things. At one extreme, it is nothing more than giving people better tools than typewriters and telephones with which to do their work more efficiently and effectively. At the opposite extreme, it implies the replacement of people by machines which perform office procedures automatically. In this book we will take the approach that "Office Automation" is much more than just better tools, but falls significantly short of replacing every person in an office. It may reduce the need for clerks, it may take over some secretarial functions, and it may lessen the dependence of principals on support personnel. Office Automation will change the office environment. It will eliminate the more mundane and well understood functions and will highlight the decision-oriented activities in an office. The goal of this book is to provide some understanding of office . activities and to evaluate the potential of Office Information Systems for office procedure automation. To achieve this goal, we need to explore concepts, elaborate on techniques, and outline tools.