Call Number: Valley City State University 2nd Floor (778.3 M9922i )
Publication Date: 2007
History of X-ray art -- Technique of making art Roentgenograms -- The negative versus positive debate and other image manipulations -- Black and white images -- Adding color to X-ray images -- Making montages -- Other X-ray artists.
Call Number: Valley City State University 2nd Floor (709.2 L5535i )
Publication Date: 2017-10-17
The #1 New York Times Bestseller "A powerful story of an exhilarating mind and life...a study in creativity: how to define it, how to achieve it."--The New Yorker "Vigorous, insightful."--The Washington Post "A masterpiece."--San Francisco Chronicle "Luminous."--The Daily Beast He was history's most creative genius. What secrets can he teach us? The author of the acclaimed bestsellers Steve Jobs, Einstein, and Benjamin Franklin brings Leonardo da Vinci to life in this exciting new biography. Based on thousands of pages from Leonardo's astonishing notebooks and new discoveries about his life and work, Walter Isaacson weaves a narrative that connects his art to his science. He shows how Leonardo's genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy. He produced the two most famous paintings in history, The Last Supper and the Mona Lisa. But in his own mind, he was just as much a man of science and technology. With a passion that sometimes became obsessive, he pursued innovative studies of anatomy, fossils, birds, the heart, flying machines, botany, geology, and weaponry. His ability to stand at the crossroads of the humanities and the sciences, made iconic by his drawing of Vitruvian Man, made him history's most creative genius. His creativity, like that of other great innovators, came from having wide-ranging passions. He peeled flesh off the faces of cadavers, drew the muscles that move the lips, and then painted history's most memorable smile. He explored the math of optics, showed how light rays strike the cornea, and produced illusions of changing perspectives in The Last Supper. Isaacson also describes how Leonardo's lifelong enthusiasm for staging theatrical productions informed his paintings and inventions. Leonardo's delight at combining diverse passions remains the ultimate recipe for creativity. So, too, does his ease at being a bit of a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted, and at times heretical. His life should remind us of the importance of instilling, both in ourselves and our children, not just received knowledge but a willingness to question it--to be imaginative and, like talented misfits and rebels in any era, to think different.
Call Number: Valley City State University 3rd Floor (372.5044 Y398v )
Publication Date: 2013-10-01
"What's going on in this picture?" With this one question and a carefully chosen work of art, teachers can start their students down a path toward deeper learning and other skills now encouraged by the Common Core State Standards. The Visual Thinking Strategies (VTS) teaching method has been successfully implemented in schools, districts, and cultural institutions nationwide, including bilingual schools in California, West Orange Public Schools in New Jersey, and the San Francisco Museum of Modern Art. It provides for open-ended yet highly structured discussions of visual art, and significantly increases students' critical thinking, language, and literacy skills along the way. Philip Yenawine, former education director of New York's Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art--as well as poems, primary documents, and other visual artifacts--to increase a variety of skills, including writing, listening, and speaking, across a range of subjects. The book shows how VTS can be easily and effectively integrated into elementary classroom lessons in just ten hours of a school year to create learner-centered environments where students at all levels are involved in rich, absorbing discussions.
by Belinda Thomson (Editor); Tamar Garb (Contribution by); Charles Forsdick (Contribution by); Vincent Gille (Contribution by); Linda Goddard (Contribution by); Philippe Dagen (Contribution by)
Publication Date: 2010-11-14
This major reevaluation of Paul Gauguin presents the artist and his work in an entirely new light. The vivid, unnaturalistic colors and bold outlines of Gauguin's paintings and the strong, semiabstract quality of his woodcuts had a profound effect on the development of twentieth-century art. Here readers will discover why Gauguin was one of the most important artists behind European modernism--yet one who also challenged its very tenets. Because while modern art largely rejected narrative, for Gauguin it remained central. Gauguin is the first book to fully examine his use of stories and myth to give powerful narrative tension to his paintings at a time when other painters thought storytelling was dead. Gauguin's life in French Polynesia is often portrayed as a quest for the other, with the artist as the romantic explorer encountering primitive cultures for the first time. In fact, he was deeply immersed in world art and a great reader of Polynesian stories and myths. This book cuts through the mystique surrounding Gauguin--one the artist himself cultivated--to show how he self-mythologized, presenting himself to the world as a suffering, Christ-like figure. Stunningly illustrated and unprecedented in scope, Gauguin features more than 200 museum-quality reproductions of paintings, works on paper, ceramics, woodcarvings, and writings, including Gauguin's beautifully illustrated letters and books. Exhibition Schedule: Tate Modern, London September 30, 2010 - January 16, 2011 National Gallery of Art, Washington February 27 - June 5, 2011
Gauguin and Impressionism
by Richard R. Brettell; Anne-Birgitte Fonsmark
Publication Date: 2007-09-01
Paul Gauguin was introduced into the Impressionist circle by Camille Pissarro and contributed major works to five of the eight Impressionist exhibitions between 1879 and 1886. During these years he transformed himself from a banker-stockbroker into a professional artist and from a family man into a solitary searcher for artistic, moral, and spiritual truths. Yet this vital period of Gauguin' s life has usually been dismissed as an awkward prelude to his brilliant career as an anti-Impressionist. This handsomely illustrated book reconsiders Gauguin' s apprenticeship as an Impressionist and reassesses his contributions to the movement through the extraordinarily subtle and beautiful paintings, sculpture, and ceramic works he created during the years before 1887. Richard R. Brettell and Anne-Birgitte Fonsmark argue that Gauguin' s Impressionist paintings compare in quality to those of Sisley, Morisot, or Cassatt and that as a sculptor he was second only to Degas. His sculptures and ceramics were even more searching and radical than his early paintings and are crucial to the understanding of his development. Gauguin grappled with the thorniest issues debated by the French avant-garde, the authors contend, and no member of the Impressionist group created works as enigmatic or as wideranging, both artistically and emotionally.
Gauguin, Cézanne, Matisse
by Joseph J. Rishel (Editor); Stephanie D'Alessandro; Charles Dempsey; Tanja Pirsig-Marshall; George T. M. Shackelford
Publication Date: 2012-07-03
The notion of a golden age set in an earthly paradise has long kindled the human imagination. Virgil envisioned such a place of bucolic pleasures--erotic and unsullied, sometimes shadowed by blunted desires and doubts--in his Eclogues, set in the valley of Arcadia in ancient Greece. His poems defined for Western art and literature a theme that continues to this day. Their resonance as a foundation for European painters around 1900 is the subject of this beautifully illustrated catalogue, which focuses on three monumental paintings--Paul Gauguin's Where Do We Come From? What Are We? Where Are We Going? (1897-98), Paul C#65533;zanne's The Large Bathers (1906), and Henri Matisse's Bathers by a River (1909-10, 1913, and 1916-17). Other masterpieces by Jean-Baptiste-Camille Corot, Nicolas Poussin, and Pierre Puvis de Chavannes establish the high value given to Arcadia in the history of French painting. These are joined by major works by Henri Edmond Cross, Robert Delaunay, Andr#65533; Derain, Pablo Picasso, Henri Rousseau, and Paul Signac, as well as paintings by Ernst Ludwig Kirchner, Franz Marc, and Natalia Goncharova to suggest the vitality of this subject outside the canonical French definitions. Distinguished scholars place these artists within the larger context of this inventive period in art history.
Memorials to Shattered Myths Vietnam to 9/11
by Harriet F. Senie
Publication Date: 2016-01-04
Memorials to Shattered Myths: Vietnam to 9/11 traces the evolution and consequences of a new hybrid paradigm, which grants a heroic status to victims of national tragedies, and by extension to their families, thereby creating a class of privileged participants in the permanent memorialprocess. Harriet F. Senie suggests that instead the victims' families be able to determine the nature of an interim memorial, one that addresses their needs in the critical time between the murder of their loved ones and the completion of the permanent memorial. She also observes that the memorials discussed herein are inadvertently based on strategies of diversion and denial that direct our attention away from actual events, and reframe tragedy as secular or religious triumph. In doing so, they camouflage history, and seen as an aggregate, they define anation of victims, exactly the concept they and their accompanying celebratory narratives were apparently created to obscure.
Call Number: Valley City State University 2nd Floor (779 H1987w )
Publication Date: 1997-09-30
In Waste Land, photographer David T. Hanson presents a picture of our environment that is unfamiliar and deeply disturbing. It is, however, a picture that must be looked at and contended with if our environment is to survive. In the words of the writer Wendell Berry, Hanson has "given us the topography of our open wounds." Waste Land is a powerful book that will not permit us to turn our backs on the declining state of our environment. During the past fifteen years of his career as an artist/photographer, Hanson has documented-- often in aerial photographs that are deceptively, inexorably beautiful-- some of the devastations that humans have inflicted and continue to impose upon the environment. Each of the four photographic series in this book provides a different look at the consequences of our actions. Waste Land opens with a series of photographs of strip mines in Colstrip, Montana that Hanson created in the early 1980s, a series he describes as "a chronicle of entropy, an elegy for a lost landscape." Beginning with photographs depicting trailer parks and company houses-- void of any human presence-- the vantage point moves upwards through images of the community's mine, power plant, and industrial site, to aerial shots that become increasingly abstract. Ultimately, the series reveals Colstrip as arena and metaphor for the use, misuse, and abuse of power. Hanson's Minuteman Missile Sites series focuses on one aspect of the American industrial and military landscape: bleak aerial views of silos, each containing a missile with a destructive potential nearly a hundred times that of the bomb dropped on Hiroshima. These images disclose some of America's secret landscapes; they mirror in both form and content the military's applications of photography for surveillance and targeting. The harrowing centerpiece of this book is Hanson's Waste Land series. In 1982, from some 400,000 toxic sites throughout the U.S.A., the Environmental Protection Agency listed 418 as highly hazardous and in need of urgent attention. In only a few years, that number more than tripled. Waste Land is a study of sixty-seven of the most dangerously polluted waste sites in the United States. In this series of triptychs, Hanson juxtaposes an aerial photograph, a modified topographic map, and an EPA site description exposing some of the elaborate legal strategies that corporations and individuals have used to avoid taking responsibility for the contamination-- or the cleanup. The book's final sequence is devoted to Hanson's recent series, ironically entitled "The Treasure State": Montana 1889-1989. Here, the photographer begins with an aerial view of a site that affects one of Montana's imperiled species, and overlays each image with a sheet of glass, discreetly etched with the name of the impacted animal. Perhaps the most visually abstract series in the book, "The Treasure State" features haunting, intensely colorful images that lure the viewer in, only to be struck by the realization that a vital and sustaining element of this landscape is on the brink of disappearing. Waste Land includes an Afterword by Mark Dowie, author of 1995's Losing Ground: American Environmentalism at the Close of the Twentieth Century. In his text, Dowie explores the historical mutability of our country's policies toward the environment. The book also features poignant commentary by Susan Griffin, William Kittredge, Peter Montague and Maria B. Pellerano, and Terry Tempest Williams. "The power of these photographs is in their terrifying, because undeniable, particularity....What we can see in these vandalized and perhaps irreparable landscapes we are obliged to understand as symbolic of what we cannot see: the steady seeping of poison into our world and our bodies."--Wendell Berry, in the Preface to this book
Call Number: Valley City State University 3rd Floor (779 H1987c )
Publication Date: 2010-11-30
David T. Hanson's photographs of the coal-mining town of Colstrip, Montana, and the ruined landscape around it were exhibited by John Szarkowski at the Museum of Modern Art in New York in 1986. The work signaled a shift in American landscape photography, away from the cool modernism of the New Topographics. One of Hanson's aerial views of a waste pond looked like "a second-generation Abstract Expressionist canvas painted in acid," wrote New York Times critic Vicki Goldberg. The interaction of humans and their technology with nature is a subject that has been of particular interest to American artists and is inseparable from our shared heritage in the taming of the wilderness. The historian Leo Marx referred to this theme as "the machine in the garden." In Colstrip, Montana, the process is seen at its endpoint. The machine has ravaged, even consumed, the garden. The photographs reveal an entire pattern of terrain transformed by men to serve their needs. Individual images from the Colstrip series have been widely exhibited and published, but the entire sequence of 66 photographs have only rarely been seen. For this publication, Hanson has added 21 images and re-sequenced the series. Although the photographs were made in the early 1980s, they are perhaps even more relevant today, given growing concerns about energy production, environmental degradation and climate change. The pictures remain tragic reflections of a despoiled environment.