Search results for [Museum of the American Revolution,organizer,host institution.] at NC Cardinal

Results 1 to 8 of 8

Liberty : Don Troiani's paintings of the Revolutionary War / by Mead, Philip C.,writer of foreword.; Skic, Matthew,author.; Container of (works):Troiani, Don.Paintings.Selections.; Museum of the American Revolution,organizer,host institution.;

Includes bibliographical references."A catalog for the exhibit of Troiani's work at the Museum of the American Revolution, highlights pivotal events of America's fight for independence. For the first time in a museum, this special exhibition brings together Troiani's original Revolutionary War paintings and pairs them with artifacts from the museum and private collections"--

Subjects: Art.; Exhibition catalogs.; Troiani, Don;

Available copies: 1 / Total copies: 1

unAPI

Grant Wood : American Gothic and other fables / by Haskell, Barbara,author.(CARDINAL)147914; Adamson, Glenn,writer of supplementary textual content.(CARDINAL)264604; Banks, Eric,1966-writer of supplementary textual content.(CARDINAL)352411; Braun, Emily,1957-writer of supplementary textual content.(CARDINAL)182619; Reece-Hughes, Shirley,writer of supplementary textual content.(CARDINAL)228155; Meyer, Richard,1952-writer of supplementary textual content.(CARDINAL)533523; Wood, Grant,1891-1942.Paintings.Selections.(CARDINAL)633378; Whitney Museum of American Art,issuing body,host institution.(CARDINAL)139816;

Includes bibliographical references (pages 255-257) and index.Foreword / Adam D. Weinberg -- Grant Wood: through the past, darkly / Barbara Haskell -- Willow, weep for me / Glenn Adamson -- Moments of discovery: Grant Wood's theatrical paintings / Shirley Reece-Hughes -- Like a book: Grant Wood's literary associations / Eric Banks -- Cryptic corn: Magic realism and the art of Grant Wood / Emily Braun -- Grant Wood goes gay / Richard Meyer -- Plates -- Grant Wood: a chronicle / Barbara Haskell.The social and political climate in which Wood's art flourished bears certain striking similarities to America today, as national identity and the tension between urban and rural areas reemerge as polarizing issues in a country facing the consequences of globalization and the technological revolution. Wood portrayed the tension and alienation of contemporary experience. By fusing meticulously observed reality with fables of childhood, he crafted unsettling images of estrangement and apprehension that pictorially manifest the anxiety of modern life.

Subjects: Exhibition catalogs.; Wood, Grant, 1891-1942;

Available copies: 1 / Total copies: 1

unAPI

William Trost Richards : hieroglyphs of landscape / by Richards, William Trost,1833-1905,artist.(CARDINAL)131285; Howe, Jeffery W.,editor,author.(CARDINAL)279915; Richards, William Trost,1833-1905,artist.(CARDINAL)131285; Richards, William Trost,1833-1905.Works.Selections.; Ferber, Linda S.,author.(CARDINAL)154431; Bedell, Rebecca Bailey,author.(CARDINAL)314815; Wallace, James D.,1946-author.(CARDINAL)744210; Baxter, Ethan F.,author.; McMullen Museum of Art,issuing body,publisher,organizer,host institution.(CARDINAL)211795;

"The first monographic examination of William Trost Richards's (1833-1905) art in Boston, this exhibition explores the artist's career from his earliest sketches and exemplary Pre-Raphaelite technique of the 1860s, to his late masterful seascapes and landscapes. Richards's landscapes in particular come to light within the context of the nineteenth century's burgeoning appreciation for the environment. The exhibition reveals how Richards's works manifest the Romantics' hieroglyphic interpretation of nature, a metaphor embraced by Ralph Waldo Emerson and Henry David Thoreau, and reflect nascent scientific discoveries of contemporary geologists who revolutionized understanding of evolution and history. William Trost Richards: Hieroglyphs of Landscape features more than 180 oil paintings, watercolors, drawings, and sketchbooks, including many seldom-seen works owned by descendants of the artist. Other outstanding contributions come from Bowdoin College Museum of Art; Brooklyn Museum; Davis Museum at Wellesley College; Mark Twain House & Museum; McMullen Museum of Art; the Metropolitan Museum of Art; Museum of Fine Arts, Boston; Nantucket Historical Association; Newport Art Museum; Pennsylvania Academy of the Fine Arts; William Vareika Fine Arts; and many private collectors. An accompanying scholarly catalogue, edited by Jeffery Howe, contains essays by Ethan F. Baxter, Rebecca Bedell, Linda S. Ferber, Howe, and James D. Wallace. The writers probe the artist's background and psychology, illuminating links between his works and the artistic, geologic, and philosophical currents of his era."Includes bibliographical references.

Subjects: Exhibition catalogs.; Essays.; Illustrated works.; Richards, William Trost, 1833-1905; Richards, William Trost, 1833-1905; Richards, William Trost, 1833-1905; Landscape painting, American; Marine painting, American; Hudson River school of landscape painting; Painting, American; Male artists;

Available copies: 1 / Total copies: 1

unAPI

American struggle : teens respond to Jacob Lawrence / by Bailly, Austen Barron,contributor.(CARDINAL)342619; Gordón de Isaacs, Lydia,contributor.(CARDINAL)899259; Kim, Chul R.,editor.(CARDINAL)899258; Thomas, Barbara Earl,1948-contributor,writer of preface.(CARDINAL)282492; Turner, Elizabeth Hutton,1952-contributor.(CARDINAL)195764; Birmingham Museum of Art (Birmingham, Ala.),host institution.(CARDINAL)148603; Boston Community Leadership Academy,host institution.(CARDINAL)899261; Ingram Publisher Services,distributor.; Metropolitan Museum of Art (New York, N.Y.),host institution.(CARDINAL)147619; Peabody Essex Museum,publisher,host institution.(CARDINAL)218349; Phillips Collection,host institution.(CARDINAL)140837; Schomburg Center for Research in Black Culture,host institution.(CARDINAL)162229; Seattle Art Museum,host institution.(CARDINAL)121207; Six Foot Press,publisher.; Studio Museum in Harlem,host institution.(CARDINAL)165993; Thurgood Marshall Academy for Learning and Social Change (Harlem, New York, N.Y.),host institution.(CARDINAL)899260;

In the mid-1950s, as Brown v. Board of Education felled the ideology of "separate but equal," the African-American artist Jacob Lawrence saw the need for a version of American history that reckoned with its complexities and contradictions yet was shared by all its citizens. The result was his monumental work Struggle: from the History of the American People. Lawrence developed the series of thirty panels, each measuring 12 x 16 inches, over the course of two years. Lawrence created the panels as history you could hold in your hands and intended to reproduce the images in a book that he never realized. The paintings depict moments in the American Revolution and the early decades of the American republic and feature the words and actions of founding fathers, enslaved people, women, and Native Americans. In the spirit of Lawrence's project, this collection includes brief interpretive texts written by teens in response to the Struggle series. This illustrated book features a chorus of thirty young adult voices expressing how Lawrence and his Struggle series speaks to them on a personal, emotional level. The young writers come from a variety of races and ethnicities, nationalities, religions, genders, sexualities, and abilities, and underrepresented voices. As Jacob Lawrence mined American history to reflect upon events he saw happening around him in segregation-era America, these young adults use these panels to comment on their experiences in today's America.Participating teen authors: Sam Ahn, Mya Barnhart, Lynsey Borges, Tyler Burston, Saudia Campbell, Trécii Cheeseboro, Yasmine Chokrane, Amber Crus, Zora Danticat, Kevin Deleon, Emily Desosaran, Aminata Dosso, Jada Epps, Sophie Fishman, Rashad Freeman, Alyse Gaskins, Jennifer Hernandez, Amya Hudson, Ahmed Iginla, Makayla Jordan, Braden Kislin, Zarina Lewin, Jamiah Lewis, Abena Manuh, Makenda Marc, Munaja Mehzabin, Savannah Milton, Sunah Nash, Harry Osei-Bonsu, Jillian Peprah-Frimpong, Lindsey Ruiz, Yoilett Ramos Sanchez, Brianna Santiago, Lucia Santos, Kioni Shropshire-Maina, Lola Simon, Madison Stephenson, Yael Torres, L'hussen De Kolia Touré, Johnná Nicole-Lynn Townes, Kori Valentine, and Kylie Vargas.

Subjects: Exhibition catalogs.; Illustrated works.; Lawrence, Jacob, 1917-2000.; Lawrence, Jacob, 1917-2000.; Lawrence, Jacob, 1917-2000; African American artists; African American artists; African American painters; African Americans in art.; African Americans; Black people in art.; History in art; Narrative painting, American; Teenagers' writings, American; Youth;

Available copies: 1 / Total copies: 1

unAPI

Picasso landscapes : out of bounds / by Madeline, Laurence,editor,contributor.(CARDINAL)279930; Bell, Peter Jonathan,contributor.(CARDINAL)879824; Forlenza, Pauline,writer of foreword.(CARDINAL)880447; Herman, Todd A.,writer of foreword.(CARDINAL)857788; Kitchin, Cameron,writer of foreword.; Picasso, Pablo,1881-1973,artist.(CARDINAL)137238; Rancière, Jacques,contributor.(CARDINAL)288285; American Federation of Arts,publisher,organizer.(CARDINAL)137873; Cincinnati Art Museum,host institution.(CARDINAL)141872; DelMonico Books,publisher.(CARDINAL)870896; Distributed Art Publishers,publisher.(CARDINAL)784868; Mint Museum (Charlotte, N.C.),host institution.(CARDINAL)155359;

Includes bibliographical references (pages 128-131) and index.Pablo Picasso (1881-1973) was committed to depicting landscapes throughout his entire life. From his earliest days in art school until the year before his death, landscape remained the prime genre through which he mediated his perception of the world and which shaped his own creative evolution. Yet within Picasso's vast oeuvre, landscapes have received the least scholarly attention. Landscape would serve as a catalyst for his formal experimentation, including early Cubism; as a field in which to investigate urban modernity; as an interface between humanity and nature; as a ground for direct sculptural intervention; as a space of personal withdrawal; as an inviting terrain for elegiac scenes; and as a territory of resistance and flight. Landscapes offer the clearest lens for understanding Picasso's attentiveness to his cultural milieu as well as to his ongoing engagement with art-historical traditions. Picasso Landscapes: Out of Bounds celebrates the depth of his exploration of landscape subjects along with his expansive approach to this traditional genre.

Subjects: Exhibition catalogs.; Picasso, Pablo, 1881-1973; Picasso, Pablo, 1881-1973; Landscapes in art;

Available copies: 1 / Total copies: 1

unAPI

Dimensionism : modern art in the age of Einstein / by Malloy, Vanja,editor,writer of introduction,contributor.(CARDINAL)889647; Tamkó Sirató, Károly,1905-1980,associated name.(CARDINAL)887842; Botar, Oliver A. I.(Oliver Arpad Istvan),1957-contributor.(CARDINAL)891422; Henderson, Linda Dalrymple,1948-contributor.(CARDINAL)290201; Parkinson, Gavin,contributor.; Berkeley Art Museum and Pacific Film Archive,host institution.(CARDINAL)220160; Mead Art Museum (Amherst College),publisher,organizer,host institution.(CARDINAL)186500; MIT Press,publisher.(CARDINAL)175217;

Includes bibliographical references (pages 289-297) and index.In the early twentieth century, influenced by advances in science that included Einstein's theory of relativity and newly powerful microscopic and telescopic lenses, artists were inspired to expand their art-to capture a new metareality that went beyond human perception into unseen dimensions. In 1936, the Hungarian poet Charles Sirato authored the Dimensionist Manifesto, signaling a new movement that called on artists to transcend "all the old borders and barriers of the arts." The manifesto was the first attempt to systematize the mass of changes that we now call modern art, and was endorsed by an impressive array of artists, including Jean Arp, Alexander Calder, Robert Delaunay, Sonia Delaunay, Cesar Domela, Marcel Duchamp, Wassily Kandinsky, Joan Miro, Laszlo Moholy-Nagy, Ben Nicholson, Enrico Prampolini, and Sophie Taeuber-Arp. 'Dimensionism' is the first book in English to explore how these and other "Dimensionists" responded to the scientific breakthroughs of their era. 00Exhibition: Berkeley Art Museum and Pacific Film Archive, USA (02.11.2018-03.03.2019) / Mead Art Museum, Amherst College, USA (03.-06.2019).

Subjects: Exhibition catalogs.; Tamkó Sirató, Károly, 1905-1980.; Art and science; Art and science; Art, Modern;

Available copies: 1 / Total copies: 1

unAPI

Hung Liu : Memory and Revolution / by Liu, Hung,1948-2021,artist.(CARDINAL)329877; Carroll, Tonya Turner,author.(CARDINAL)856628; Turner Carroll Gallery,issuing body,host institution.(CARDINAL)856606;

"Hung Liu's impact on contemporary art is immense. Since the Chinese government's censorship of her 2019 Beijing exhibition, her Smithsonian retrospective in 2021, and her passing that same year, the international art world is anticipating the next deep dive into Liu's work. Turner Carroll Gallery is proud to present Hung Liu: Memory and Revolution, an exhibition offering a glimpse into Liu's deep sense of humanism and her revolutionary feminism. The exhibition features selections from the gallery's own collection of her most significant works, as well as iconic works curated from private collections." Full exhibition summary available at:"Hung Liu was born in Changchun, China in 1948, growing up under the Maoist regime. Initially trained in the Socialist Realist style, Liu studied mural painting as a graduate student at the Central Academy of Fine Art in Beijing, before immigrating to the US in 1984 to attend the University of California, San Diego, where she studied under Allan Kaprow, the American originator of Happenings. Known for paintings based on historical Chinese photographs, Hung Liu's subjects over the years have been prostitutes, refugees, street performers, soldiers, laborers, and prisoners, among others. As a painter, Liu challenges the documentary authority of historical Chinese photographs by subjecting them to the more reflective process of painting. Much of the meaning of Liu's painting comes from the way the washes and drips dissolve the documentary images, suggesting the passage of memory into history, while working to uncover the cultural and personal narratives fixed - but often concealed - in the photographic instant. Washing her subjects in veils of dripping linseed oil, she both "preserves and destroys the image." Liu has invented a kind of weeping realism that surrenders to the erosion of memory and the passage of time, while also bringing faded photographic images vividly to life as rich, facile paintings. She summons the ghosts of history to the present. In effect, Liu turns old photographs into new paintings. Around 2015, Liu shifted her focus from Chinese to American subjects. By training her attention on Dorothea Lange's displaced individuals and wandering families of the American Dustbowl, Liu finds a landscape of overarching struggle and underlying humanity that for her is familiar terrain, having been raised in China during an era (Mao's) of epic revolution, tumult, and displacement. The 1930s Oakies and Bindlestiff's wandering like ghosts through Liu's new paintings are American peasants on their way to California, the promised land. In these paintings, which have departed from her known fluid style in which drips and washes of linseed oil dissolve the photo-based images the way time erodes memory, she has have developed a kind of topographic realism in which the paint congeals around a webbing of colored lines, together enmeshed in a rich surface that belies the poverty of her subjects. In this, the new paintings are more factually woven to Lange's photographs while also releasing the energy of color like a radiant of hope from beneath the grey-tones of history. A two time recipient of a National Endowment for the Arts Fellowship in painting, Liu also received a Lifetime Achievement Award in Printmaking from the Southern Graphics Council International in 2011. A retrospective of Liu's work, "Summoning Ghosts: The Art and Life of Hung Liu," was organized by the Oakland Museum of California in 2013, traveling through 2015. In a review of that show, the Wall Street Journal called Liu "the greatest Chinese painter in the US." In 2021, the National Portrait Gallery of the Smithsonian organized "Hung Liu: Portraits of Promised Lands," a retrospective look at the artist's portraits. Curated by Dorothy Moss, this daring embrace of human countenance across multiple cultures, histories, and identities was the first solo show by an Asian American woman in the National Portrait Gallery's history. Unfortunately, Liu died of pancreatic cancer just three weeks before the show opened in Washington. Liu's works have been exhibited extensively and collected by the Whitney Museum of American Art, New York, the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York, the National Gallery of Art and The National Portrait Gallery, Washington, D.C., the Asian Art Museum of San Francisco, and the Los Angeles County Museum, among others. At her death, Liu was Professor Emerita at Mills College, in Oakland, California, where she taught since 1990. Her legacy is represented by Hung Liu Estate, in Oakland, California." Biography from:

Subjects: Exhibition catalogs.; Liu, Hung, 1948-2021; Art, American; Art, Modern; Chinese American art; Chinese American artists; Chinese American painters; Chinese American painting;

Available copies: 1 / Total copies: 1

unAPI

Siah Armajani : follow this line / by Walker Art Center,issuing body.(CARDINAL)150439; Collingwood, Jadine,1985-contributor.(CARDINAL)814855; Crosby, Eric,1980-contributor.(CARDINAL)356581; Durant, Sam,1961-contributor.(CARDINAL)667322; Golshiri, Barbad,contributor.; Hodge, David,1986-contributor.(CARDINAL)784207; Mavridorakis, Valérie,contributor.(CARDINAL)784206; Yousefi, Hamed,contributor.(CARDINAL)784205; Armajani, Siah,1939-2020,artist,contributor.(CARDINAL)137455; Davies, Clare,1980-editor,curator,contributor.(CARDINAL)784204; Sung, Victoria,1987-editor,curator,contributor.(CARDINAL)784203; Ansarinia, Nazgol,1979-contributor.(CARDINAL)784202; Slavs and Tatars (Group of artists),contributor.(CARDINAL)784201; Walker Art Center,issuing body,publisher,organizer,host institution.(CARDINAL)150439; Metropolitan Museum of Art (New York, N.Y.),organizer,host institution.(CARDINAL)147619;

Includes bibliographical references and index.In Tehran, children walking home from school would scrape their pencils against the walls, tracing their paths through the city and chanting "follow this line." Siah Armajani (born 1939) recounts that this simple gesture speaks to the desire to mark one's presence in space. 'Siah Armajani: Follow This Line' asks visitors to follow the artist across a shifting terrain, first within the context of pre-revolution Iran, and later, postwar and present-day America. Though Armajani is best known today for his works of public art--bridges, gazebos, reading rooms--located across the United States and Europe, this groundbreaking exhibition argues for a thoughtful reexamination of his studio as the site of a rich and generative practice. His works engage a range of references: from Persian calligraphy to the manifesto, letter and talisman; from poetry to mathematical equations and computer programming; from the abstract expressionist canvas to American vernacular architecture, Bauhaus design and Russian constructivism. Exhibition: Walker Art Center, Minneapolis, USA (09.09. - 30.12.2018) / The Metropolitan Museum of Art (The Met Breuer), New York, USA (20.02. - 02.06.2019).

Subjects: Exhibition catalogs.; Essays.; Illustrated works.; Armajani, Siah, 1939-2020; Armajani, Siah, 1939-2020; Armajani, Siah, 1939-2020; Sculpture, American; Sculpture, American; Sculpture, Modern; Sculpture, Modern; Public art; Public art; Male artists; Male artists;

Available copies: 1 / Total copies: 1

unAPI

Results 1 to 8 of 8