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Fonta
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Font Book
Tiré du site Internet http://www.bywaterbros.com: "A short time ago British artist Fiona Banner designed her own font, utilizing an amalgamation of typefaces she had employed in a variety of text-based artworks, including full stop sculptures, typeset wall works, and artist books, (including, for example The Nam, an epic account of Vietnam war movies written from memory). Banner named her new font : Font, a cheeky, self-referential title of little surprise to those familiar with Banner's poetic, disruptive interrogation of cultural, institutional and technological frameworks. Concurrent with her creation, Banner became fascinated with the idiosyncratic double meaning of the word itself. In ...
Fontana
Catalogue for the major retrospective of this breakthrough Italian artist.
Fontana
The self-proclaimed "City of Innovation" has a great tradition of reinventing itself. Today's Fontana was once known as "Rancho de San Bernardino." The first recorded owner, Don Antonia Maria Lugo, passed the land down to his sons, and in 1851, the Lugo brothers sold their stake to Mormon settlers, who soon relocated to Utah. Various agricultural developers, including A.B. Miller, saw potential in the land, changing its name to "Fontana" from its earlier railroad name "Rosena." But citrus and grain were not the main exports for long. During World War II, the city switched gears to become an industrial powerhouse as Southern California's leading steel producer. At the junction of Interstates 10 and 15, modern Fontana is a vital nexus of transportation and commerce, with the legendary Route 66 passing through its well-preserved downtown district and Route 99 through its southern boundary.
Lucio Fontana
Lucio Fontana (1899-1968) is widely regarded as one of the most influential and innovative post-World War II Italian artists. This title presents a technical study in English of this important painter and an informative overview of Fontana's life and work.
Church Fonts
A beautifully illustrated introduction to the most notable church fonts in England. The font is perhaps the most important part of any church. For centuries, no infant in the parish was thought to be saved from damnation until christened and fonts, as the vessels for this crucial rite of passage, were a pre-eminent tool in the Church's fight against the Devil. Standing within the public space of the church – as with pews, rood screens and chantry chapels – fonts would have been paid for by the parishioners, and so the richness of their decoration was determined by the funds available and the prevailing architectural fashions of the time. Some of the more extravagant have elaborate multi-tiered covers, raised for use via ropes or chains and pulleys. In this fascinating introduction, Matthew Byrne explores the history of fonts in churches all over the nation, highlighting some of the most notable examples and explaining their evolution across the centuries.
