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Angel De Cora, Karen Thronson, and the Art of Place: How Two Midwestern Women Used Art to Negotiate Migration and Dispossession
Elizabeth Sutton
Angel De Cora (c. 1870–1919) was a Native Ho-Chunk artist who received relative acclaim during her lifetime. Karen Thronson (1850–1929) was a Norwegian settler housewife who created crafts and folk art in obscurity along with the other women of her small immigrant community. The immigration of Thronson and her family literally maps over the De Cora family’s forced migration across Wisconsin, Iowa, and onto the plains of Nebraska and Kansas. Tracing the parallel lives of these two women artists at the turn of the twentieth century, art historian Elizabeth Sutton reveals how their stories intersected and diverged in the American Midwest. By examining the creations of these two artists, Sutton shows how each woman produced art or handicrafts that linked her new home to her homeland. Both women had to navigate and negotiate between asserting their authentic self and the expectations placed on them by others in their new locations. The result is a fascinating story of two women that speaks to universal themes of Native displacement, settler conquest, and the connection between art and place. -- Provided by the publisher
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Women Artists and Patrons in the Netherlands, 1500-1700
Elizabeth Sutton
This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today. -- Provided by the publisher
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Art, Animals, and Experience: Relationships to Canines and the Natural World
Elizabeth Sutton
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
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Frank Lloyd Wright and Mason City: Architectural Heart of the Prairie
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
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Capitalism and Cartography in the Dutch Golden Age
Elizabeth Sutton
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
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Ship Shape, a Dazzle Camouflage Sourcebook
Roy R. Behrens
This is an anthology of twenty-six all but unknown writings about World War I ship camouflage, published during and after the war. They were written by various authors, including the camouflage artists themselves. These are supplemented by brief eyewitness comments from the same era, and rare historic ship photographs, diagrams and news clippings. An unprecedented research collection, the book concludes with a 40-page camouflage bibliography, the largest ever compiled on that subject (not just ship camouflage). Most of the articles are about "high difference" or "disruptive" camouflage, a counter-intuitive method in which ships were painted in brightly colored abstract shapes, which made them conspicuous but difficult to aim at. This practice captured the imagination of the public. It became known by such names as "dazzle camouflage," "baffle painting," "jazz painting" and "parti-coloring." In publications at the time, it was frequently compared to Modern-era styles of art, including cubism, futurism, vorticism and surrealism. Wartime news articles claimed that dazzle camouflaged ships looked like crazy-quilts, "sea-going Easter eggs," barber poles, painted Jezebels-and even, the delirium tremens. Did dazzle camouflage actually work? It is often assumed that it did not, because, if for no other reason, there is supposedly no scientific evidence from World War I to prove it was effective. But among the documents in this new book is an account of postwar "laboratory experiments" at MIT that appear to confirm that-not only did it work-it worked far better than anyone thought. Edited by the author of the highly acclaimed False Colors: Art, Design and Modern Camouflage (2002); and Camoupedia: A Compendium of Research on Art, Architecture and Camouflage (2009). -- Provided by publisher
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Early Modern Dutch Prints of Africa
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
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Selections from the UNI Permanent Art Collection
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
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Camoupedia: A Compendium of Research on Art, Architecture and Camouflage
Roy R. Behrens
This is an encyclopedic sourcebook on the history and theory of Modern-era camouflage, both biological and military. It provides detailed information about pioneering studies of protective coloration in animals since the late 19th century, and the application of those same principles for military purposes during and after World War I. Organized alphabetically by subject, it focuses on the contributions of artists, architects, theatre designers, filmmakers, zoologists, game hunters, chemists, physicists, and optical physiologists-even automobile stylists and golf course planners. The involvement in camouflage of scores of well-known people (whether military or civilian is documented, among them Abbott H. Thayer, Everett L. Warner, Norman Rockwell, Walt Disney, Ellsworth Kelly, Bill Blass, Seymour Reit (who originated Casper the Friendly Ghost), Max Bill, Jon Gnagy (Learn to Draw tv series), Harley Earl, and many many others. Much of the information contained was discovered in archival sources and has never appeared in books before. Written by the author of False Colors: Art, Design and Modern Camouflage, and Cook Book: Gertrude Stein, William Cook and Le Corbusier. -- Provided by publisher
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Cook Book: Gertrude Stein, William Cook and Le Corbusier
Roy R. Behrens
" ... a biographical sketch of one of Gertrude Stein's closest friends, a largely unknown artist named William Edwards Cook (1881-1959)" -- Dust jacket.
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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
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Swedish Excavations at Sinda, Cyprus: Excavations Conducted by Arne Furumark 1947-1948
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 -
False Colors: Art, Design and Modern Camouflage
Roy R. Behrens
An engaging and often amusing account of the little known use of artists, designers, and architects as army, navy, and civilian camouflage experts (called "camoufleurs") during World Wars I and II. Described and illustrated are documented attempts--some ingenious, others bizarre--at "fooling the eye" by such prominent artists (from France, England, the US, and Germany) as Abbott H. Thayer, Jean-Louis Forain, Andre Dunoyer de Segonzac, Jacques Villon, Grant Wood, Thomas Hart Benton, Norman Wilkinson, Everett Warner, Sherry Fry, Barry Faulkner, Homer Saint-Gaudens, John Singer Sargent, Frederic Waugh, Edward Seago, Blair Hughes-Stanton, Charles Burchfield, Oskar Schlemmer, Franz Marc, Edward Wadsworth, William Stanley Hayter, Roland Penrose, Julian Trevelyan, Eric Sloane, Laszlo Moholy-Nagy, Gyorgy Kepes, Jon Gnagy, Arshile Gorky, Victor Papenek, and Ellsworth Kelly. Illustrated by 120 vintage photographs, diagrams, and artworks, the text explains how the strategies used to conceal objects in nature and warfare are based on the very same "unit-forming factors" that artists, designers, and architects use every day in the creation of paintings, prints, fonts, logos, page layouts, web sites, furniture, buildings, and so on. Throughout the book, the author makes shrewd observations about the connections of art, design, and camouflage to such seemingly wide-ranging topics as Gestalt psychology, esthetics, Cubism, Dada, Surrealism, psychoanalysis, kindergarten, creativity, the Bauhaus, Frank Lloyd Wright, humor, dream analysis, Rockwell Kent, poetry, pickpockets, and sleight of hand. Of additional interest are a camouflage timeline, an account of the etymology of the word camouflage, and a 10-page bibliography, the largest ever compiled on the subject of art and camouflage. -- Provided by publisher
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Roger Shimomura : Return of the Yellow Peril
William W. Lew and Roger Shimomura
"Exhibitions: Cheney Cowles Museum, Spokane, Washington, February 19-March 28, 1993; Nevada Museum of Art, Reno, Nevada, April 19-May 30, 1993; University of Northern Iowa, Cedar Falls, Iowa, August 25-September 21, 1993; Wichita Art Museum, Wichita, Kansas, October 3-November 14, 1993."
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Design in the Visual Arts
Roy R. Behrens
Book gives details on designing in visual arts. -- Provided by publisher
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The Life of Fiction
Jerome Klinkowitz and Roy R. Behrens
"Applying a radically new style of criticism to the 'new fiction' of Kurt Vonnegut Jr, Donald Barthelme, Hunter S. Thompson, Ishmael Reed, Ronald Sukenick, Gilbert Sorrentino, and others." -- Provided by publisher
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