The Greenfield Library just got a new reference book set – The Encyclopedia of Comic Books and Graphic Novels edited by M. Keith Booker (in Greenfield Reference, 741.503 En19). These beautifully illustrated two volumes reminded me of a terrific collection from The University of Buffalo, SUNY library.
Walter McConnell earned his MFA from the New York State College of Ceramics at Alfred University and currently teaches there in the ceramics department. He often uses unfired ceramics in his time-based installations that resemble terrariums. In them, the unfired clay object slowly returns to dust.
To find out more about McConnell’s work,watch this behind-the-scenes video (about 2 minutes long) from the Philadelphia Museum of Art. It shows a time-lapse of McConnell building his work, Calling Earth to Witness. McConnell also spoke about his work at the University of Colorado; watch him lecture on his work in this video from 2000 (about a half-hour talk).
You can also find out more about this ceramic artist through the University of the Arts Libraries. The following articles are all available through WilsonWeb (if you are off-campus, you will have to log in with your name and library barcode to access them).
Glen Brown’s “At the Daum Museum: Walter McConnell,” (in issue 76 of Ceramics, 2009) is a terrific article on McConnell’s work, particularly focusing on the commercial-mold mass sculptures and terrarium-like unfired clay works on exhibit at the Daum Museum in 2009. Brown discusses the similarities and contrasts of desire that resonant between the two types of work.
In “Encountering Abundance: Multiplicity in Clay” (Ceramics, issue 63, 2006), Holly Hanessian mentions McConnell’s work in discussing with five other artists who work in multiples in clay. In particular,his piece Theory of Everything (Blue Version) is noted.
Mitchell Merback’s “Cooled Matter: Ceramic Sculpture in the Expanded Field” (Ceramics, issue 39 2000) reviews the revised and updated version of the 1999 NCECA Conference exhibition, Cooled Matter. Merback details the work of the six sculptors included in the show, among them McConnell.
As if that doesn’t keep her busy enough, she is also an artist! She holds a BFA from Cooper Union and an MFA from The University of Massachusetts at Amherst.
To find out more about Ms. Gilrain, check out Socrates Sculpture Park by Alyson Baker and Ivana Mestrovic (New York: Socrates Sculpture Park, 2006). We have it in the Greenfield Library with call number 730.747421 So14b. Ms. Gilrain has written a brief essay entitled The Socrates Years and images of her own artwork are included. Also read “Presence of Light” by Andrew Robinson (Gay City News, 9-15 September 2004). It reviews an exhibition curated by Ms. Gilrain at the Berkshire Museum in Massachusetts.
American film director Stanley Kubrick was very popular – and very controversial! He tended to work slowly and obsessively on a film, making sure everything was as perfect as his vision. His films, most of which were adapted from novels, reflect a strong influence of surrealism.
The library has plenty of information on Kubrick and his films, including Professor Naremore’s book On Kubrick (791.4302330924 K951n in Greenfield Open Stacks). You can read Stanley Kubrick: 2001: A Space Odyssey: New Essays, edited by Professor Kolker, on ebrary (if you are off campus, you will have to log in with your name and library barcode first).
In 2003, Jude Robison and Caitlin Perkins were MFA students in Books Arts and Printmaking at UArts. Amazed at all the local book arts, library history, and publishing houses right here in Philadelphia, they wanted to build a “bridge between Philadelphia’s cultural riches and its passionate bibliophiles, artists, collectors, librarians, educators, and students of all ages.” In 2005, The Philadelphia Center for the Book was born.
The Philadelphia Center for the Book hosts exhibitions, workshops, and other book-related fun. To find out about what events they are hosting, and when, read their blog. They will keep you up to date on everything book and library related in the Philadelphia region.
This is an offset lithography, handbound book entitled Everything and Everyone: In the End We All Are One by Philadelphia Center for the Book member (and UArts grad!) Sarah Pohlman.
Joan Linder received her MFA from Columbia University and also attended the prestigiousSkowhegan School in Maine. A lifelong New York resident, she now teaches visual studies at the University of Buffalo and is represented by Mixed Greens Gallery in New York City.
Here is some additional reading material, offered through the University Libraries’ website, to help you learn more about Linder, her artwork, and her inspirations.
Lauren Fensterstock (“Samson Projects/Boston, MA: Joan and Liz Linder: Self Help” in Art New England fromOctober/November 2005) provides a brief review of Joan’s and her sister, Liz’s, work at Samson Projects in Boston. Fensterstock describes Joan’s drawings as works that “raise questions that upset traditional concepts of power and complacency.” This article is found through the article database Wilson Web; the links will take you right to the article (if you are off campus, you will need to enter your name and library barcode first).
Kerr, Merrily (“Joan Linder at Mixed Greens” in Art On Paper from March/April 2006) reviews an exhibition of work, stressing that Linder’s paintings “are a wonderland of laboriously rendered forms.” Find this article in Greenfield Periodicals on the lower level in Technical Services.
Cathy Lebowitz (“Joan Linder at Mixed Greens and White Columns” in Art in America from November 2004) reviews two accordion-fold books of Linder’s drawings, Ramifications and Undue Influence. The conceptual process and techniques are described in these works that “have a grittiness and immediacy that give them strength.” Find this article in Greenfield Periodicals on the lower level in Technical Services.
How about two for you! There are quite a few digital collections of restaurant menus available to browse on the Internet. Here are two of my favorites:
The University of Washington’s University Libraries put together this great Menus Collection that also includes placemats and other graphic material from area restaurants. Designs, foods, and prices all the way back to 1883 are represented, showing a timeline of American history through our eating habits!
The New York Public Library also hosts a digital collection of menus: the Miss Frank E. Buttolph American Menu Collection, 1851-1930.Miss Burton became passionate about collecting menus for their historical significance and, when she passed away in 1924, had amassed over 25,000! This collection terrifically demonstrates how text and visual graphic design can be visually stunning together.
You know those squiggly words you have to type in on certain Web sites to get access or to make a purchase? That’s a piece of software called CAPTCHA, or you may even be using reCAPTCHA and, unbeknownst to you, helping to digitize materials in the Internet Archive, Google and elsewhere. Want to know more? Watch this video of CAPTCHA and reCAPTCHA creator Luis von Ahn describe it in a Computing Research Association presentation. (It’s 11:50 long, but he’s quite charming and funny, and the idea is so simple and great. Thanks to UArts librarian Josh Roberts for finding this great clip!)
This is of particular interest to UArts since we have just begun a digitization project of the UArts archives. The resulting digital files will be freely available and searchable through the Internet Archive. Want to contribute? Check out Google’s “What is reCAPTCHA?” page, and start helping to digitize immediately!
Here is some additional reading material, offered through the University Libraries’ website, to help you learn more about this popular artist collective. All found through the article database Wilson Web, the links will take you right to the articles (if you are off campus, you will need to enter your name and library barcode first).
In a review of an exhibition at Murray Guy, Nancy Princenthal (“Francis Cape at Murray Guy” in Art in America, November 2004) notes that Cape’s work is full of impulses including “confession and stonewalling, Shaker-style transcendence and Minimalist materialism.”
In a brief review of Cape’s installation, Forest Park, at the St. Louis Art Museum, Eddie Silva (in the Sept/Oct 2004 issue of ArtUS) alludes to the work’s “quiet disruptions of expectation” and “exquisite craftsmanship.”
A final article on Cape’s work can be found in print in Greenfield Library’s bound periodicals. Janet Koplos (“New York: Francis Cape at Murray Guy” in Art in America, Jan. 2000) reviewed Cape’s non-functional cabinetry and drawings on exhibit at Murray Guy. Koplos calls the works a “virtuoso of quiet.”