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A Place in My Mind
Art Marsicano shares the inspiring story of his wifes five-year battle with ovarian cancer in this tribute to God, marriage, and the power of love. In Jeans final years, she smiled more than she cried and reached out to help others when she was the one in trouble. While cancer may have destroyed her body, it did not destroy her mind, soul or her essence. But as cancer took its toll, Art was forced to think about a life of living alone. One day, a verse of poetry fixed itself into his mind: theres a place in my mind that so clearly I see and when I go there I think of thee there are mountains and rivers and the wind blows free yet I feel great sorrow, for there is only me When Jean died, Art found comfort by relying on Gods strength and thinking about the sunny days of the past, including four women that he wanted to reconnect withdiscovering that two of them had died. But one of the women, Mary, would find him by sending a condolence card in the mail. Soon, Art would discover that his life could still have magic and love.
Terrible Freedom
From her childhood in Detroit to her professional career in New York City, American composer Lucia Dlugoszewski (1925–2000) lived a life of relentless creativity as a poet and writer, composer for dance, theater, and film, and, eventually, choreographer. Forging her own path after briefly studying with John Cage and Edgard Varèse, Dlugoszewski tackled the musical issues of her time. She expanded sonic resources, invented instruments, brought new focus to timbre and texture, collaborated with artists across disciplines, and incorporated spiritual, psychological, and philosophical influences into her work. Remembered today almost solely as the musical director for the Erick Hawkins Dance Company, Dlugoszewski's compositional output, writings on aesthetics, creative relationships, and graphic poetry deserve careful examination on their own terms within the history of American experimental music.
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The Mentor-Disciple Relationship in the Visual Arts and Beyond
This book undertakes a deep examination of mentor and disciple relationships in the development of artists. It draws upon a variety of relationships and models, including an in-person mentor, a mentor or apprentice scenario, and non-physical mentors such as historical figures, in order to investigate their history and philosophy. This volume specifically addresses the role of mentoring in the lives of contemporary aspiring artists, asking if and how mentoring can be considered a form of human nurturance. Deep historical inspections and philosophical inquiries are combined with analyses of interviews with contemporary artists ranging from 35 to 101 years old. These holistic insights present the subject of mentoring in the arts from the multiple angles of art history and relevant ideas about the benefits of nurturance and acceptance in human development. Using artists’ biographies and discussions of their work, this book sheds light on the role that mentoring has played in their development and can play in contemporary education. It will appeal to artists, art history teachers, educators, art students, and art scholars.
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Annual Report
Reports for 1980- include also the Annual report of the National Council on the Arts.
Art Index
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