Elizabeth Sutton, using a phenomenological approach, investigates how animals in art invite viewers to contemplate human relationships to the natural world. Using Rembrandt van Rijn’s etching of The Presentation in the Temple (c. 1640), Joseph Beuys’s social sculpture I Like America and America Likes Me (1974), archaic rock paintings at Horseshoe Canyon, Canyonlands National Park, and examples from contemporary art, this book demonstrates how artists across time and cultures employed animals to draw attention to the sensory experience of the composition and reflect upon the shared sensory awareness of the world. -- Provided by publisher
Roy R. Behrens
In the early 1900s, Frank Lloyd Wright transformed a small midwestern prairie community into one of the world's most important architectural destinations. Mason City, Iowa, became home to his City National Bank and Park Inn--the last surviving Wright hotel. In addition, his prototype Stockman House helped launch the Prairie School architectural style. Soon after, architect Walter Burley Griffin followed in Wright's footsteps, designing a cluster of Prairie School homes in the Rock Crest/Rock Glen neighborhood. Design historian Roy Behrens leads the way through Mason City's historic development from the Industrial Revolution to the modern era of Frank Lloyd Wright. -- Provided by Amazon.com
In Capitalism and Cartography in the Dutch Golden Age, Elizabeth A. Sutton explores the fascinating but previously neglected history of corporate cartography during the Dutch Golden Age, from ca. 1600 to 1650. She examines how maps were used as propaganda tools for the Dutch West India Company in order to encourage the commodification of land and an overall capitalist agenda. Building her exploration around the central figure of Claes Jansz Vischer, an Amsterdam-based publisher closely tied to the Dutch West India Company, Sutton shows how printed maps of Dutch Atlantic territories helped rationalize the Dutch Republic’s global expansion. Maps of land reclamation projects in the Netherlands, as well as the Dutch territories of New Netherland (now New York) and New Holland (Dutch Brazil), reveal how print media were used both to increase investment and to project a common narrative of national unity. Maps of this era showed those boundaries, commodities, and topographical details that publishers and the Dutch West India Company merchants and governing Dutch elite deemed significant to their agenda. In the process, Sutton argues, they perpetuated and promoted modern state capitalism. -- Provided by publisher
Elizabeth A. Sutton
Using Pieter de Marees' Description and Historical Account of the Gold Kingdom of Guinea (1602) as her main source material, author Elizabeth Sutton brings to bear approaches from the disciplines of art history and book history to explore the context in which De Marees' account was created. Since variations of the images and text were repeated in other European travel collections and decorated maps, Sutton is able to trace how the framing of text and image shaped the formation of knowledge that continued to be repeated and distilled in later European depictions of Africans. She reads the engravings in De Marees' account as a demonstration of the intertwining domains of the Dutch pictorial tradition, intellectual inquiry, and Dutch mercantilism. At the same time, by analyzing the marketing tactics of the publisher, Cornelis Claesz, this study illuminates how early modern epistemological processes were influenced by the commodification of knowledge. Sutton examines the book's construction and marketing to shed new light on the social milieus that shared interests in ethnography, trade, and travel. Exploring how the images and text function together, Sutton suggests that Dutch visual and intellectual traditions informed readers' choices for translating De Marees' text visually. Through the examination of early modern Dutch print culture, Early Modern Dutch Prints of Africa expands the boundaries of our understanding of the European imperial enterprise. -- Provided by publisher
Charles M. Adelman
The University of Northern Iowa (UNI), specifically the Department of Art and its Gallery of Art in the College of Humanities and Fine Arts, has been the home of a substantial collection of pieces of art for many years. Better known as the Permanent Collection, the Gallery of Art is the repository of paintings, etchings, drawings, lithographs and other artistic modi. The Collection holds objects donated by alumni, benefactors and faculty from the famous masterpiece to the not so well known. Still, all the pieces in the Collection, from Rembrandt to Rauschenber and from Dali to Grosz, are precious in their own right and of interest to the art historians and connoisseurs of art.
This collection may not be well known to outsiders. For many years, Darrell Taylor, Director of the UNI Art Gallery, and I have discussed ways to showcase the holdings. The occasional show in the UNI Gallery of Art and the display in some other venues considerably limit the exposure that the permanent collection should receive. Yet, the permanent collection remains a hidden treasure for the most part.
With this catalog we are taking the first step towards documenting and providing access to the UNI Permanent Collection for internal and external audiences. We are indebted to Professor Charles M. Adelman, art historian in the UNI Department of Art, for initiating and realizing the project. Professor Adelman's guidance and supervision of a number of students produced a catalog of selected pieces. It also achieved several essential objectives, for example,
-- It gave students an opportunity to research write and organize information on the artists and their works, in other words, it became a learning instrument;
-- Even though its scope was limited, it archived for the first time a number of objects in our Permanent Collection in the form of a catalog;
Understanding the intrinsic value of the project, the College of Humanities and Fine Arts and the Department of Art supported the project from its inception. I congratulate Professor Adelman and the students who were instrumental in creating this collection for their achievement. It will make the UNI Permanent Collection even more permanent.
R. K. Bubser, Dean, College of Humanities and Fine Arts, 13 July 2009
The Find Group Pottery from the Swedish Excavations at Sinda, Cyprus: Significant Sherds Selected by Arne Furumark for his Working Notebook
Charles M. Adelman and Arne Furumark
Arne Furumark and Charles M. Adelman
When Arne Furumark was entrusted with writing the Late Bronze Age summary volume for the Swedish Cyprus Expedition, he realized that a habitation site was needed in order to clarify problems associated with the last phases of that period. As neither the French nor the Cypriote excavations at Enkomi had yet been published he decided to find his own site: he scouted several, but settled on Sinda because recent illicit digging there had thrown up sherds of a sort never before seen on the Island, namely Mycenaean. IIIC1b. He conducted two short excavation seasons but the control excavation he planned was aborted when he received notice from the Cypriote authorities that there was large scale destruction of the site. Although there is evidence of earlier and later habitation at Sinda, the most important is the Late Bronze Age fortified town (probably built along the copper trading route), with its three phases: Sinda I, II, and III.
Sinda I, which saw the building of the defense system and had a material culture including local Cypriote wares as well as examples of Mycenaean IIIB, suffered major destruction. Sinda II followed: Structures were repaired and built, and were accompanied by a rich material culture including Mycenaean IIIC1a and great quantities of locally produced, early IIIC1b materials. A second catastrophe brought an end to that town. Sinda III followed, a poorer town, but with examples of locally produced, developed IIIC1b wares of the Close Style. Furumark's interpretation that the two destructions were brought about first by Greek settlers and then by Sea Peoples has been challenged by more recent archaeological evidence which lowers the date of Mycenaean IIIB. Paul Astrom, in his summary suggests a reasonable alternative, that pirates and adventurers were responsible for the destructions. -- Provided by publisher
Charles M. Adelman