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The Guardian Building
"In The Guardian Building James W. Tottis tells the story of the opulent block-long tower, the influential company that commissioned it, and the under-appreciated architect responsible for its design. In full-color historic and contemporary photos, Tottis details everything from the china designed by the architect for use in the Guardian dining room to the building's rarely seen upper banking room. Tottis also investigates the sources of design and materials for the Guardian, finding that it brought together the finest artisans, craftsmen, and firms of the time, including Rookwood Pottery, Pewabic Pottery, Moline Furniture Works, architectural sculptor Joe Parducci, and muralist Ezra Winter.".
The Scarab Club
On the cusp of its centennial anniversary, the Scarab Club (founded in 1907) weaves itself into the city of Detroit's and the state of Michigan's artistic cultural heritage. From its humble beginning as the Hopkin Club to its current status in the 21st century, the Scarab Club focuses on fine, performing, and technical arts and is still housed in its original 1928 building, a historic local, state, and national landmark. The club's exhibitions, programs, and costumed balls, the prominent visitors' and members' signatures on the second-floor beams, and the architectural decor of the clubhouse combine for its unique distinction. From its inception, the Scarab Club's mission has been to educate and enlighten its members and the community in the arts. The organization maintains a clubhouse for the exhibition of arts, provides facilities for artists for the advancement of their craft, and for other activities directed toward the education in the arts."
Love and Loss
"Most often, portrait miniatures were painted in watercolor on thin disks of ivory. They were sometimes worn as jewelry, sometimes framed to be viewed privately. Many were painted by specialists, although renowned easel artists - including Benjamin West, John Singleton Copley, and Charles Willson Peale - also created them to commemorate births, engagements, marriages, deaths, and other joinings or separations. The book traces the development of this exquisite art form, revealing the close ties between the history of the miniature and the history of American private life."--BOOK JACKET.
Scarab Arts Annual Volume 2
This second annual of the Scarab Arts Annual is among the organization's most notable achievements of the 2010 calendar year. The purpose of the Annual is to provide Scarab Club member artists and poets an opportunity to have their work published in book form. Since participation in this publication is on a volunteer basis, images found in the Annual are not a complete representation of all Scarab Club members.
Gender and Activism in a Little Magazine
Interweaving nuanced discussions of politics, visuality, and gender, Gender and Activism in a Little Magazine uncovers the complex ways that gender figures into the graphic satire created by artists for the New York-based socialist journal the Masses, published between 1911 and 1917. This study uses these images to open up new ways of understanding the complexity of early 20th-century viewpoints, and returns these often-ignored images to their rightful place in American modernist scholarship.
Ashcan Art, Whiteness, and the Unspectacular Man
Arriving in New York City in the first decade of the twentieth century, six painters-Robert Henri, John Sloan, Everett Shinn, Glackens, George Luks, and George Bellows, subsequently known as the Ashcan Circle-faced a visual culture that depicted the urban man as a diseased body under assault. Ashcan artists countered this narrative, manipulating the bodies of construction workers, tramps, entertainers, and office workers to stand in visual opposition to popular, political, and commercial cultures. They did so by repeatedly positioning white male bodies as having no cleverness, no moral authority, no style, and no particular charisma, crafting with consistency an unspectacular man. This was a...
Street-Level Architecture
This book provides the tools to maintain and rebuild the interaction between architecture and public space. Despite the best intentions of designers and planners, interactive frontages have dwindled over the past century in Europe and North America. This book demonstrates why even our best intentions for interactive frontages are currently unable to turn a swelling tide of economic and technological evolution, land consolidation, introversion, stratification, and contagious decline. It uses these lessons to offer concrete locational, programming, design, and management strategies to maximize street-level interaction and trust between street-level architecture, its inhabitants, and the city. ...
American Impressionism & Realism
An exhibition publication featuring curatorial essays and works from the Metropolitan Museum of Art, New York
American Realism
Urban realism, snow-covered streets of New York, boxing matches, children on the banks of a river, the painters of the Ash Can School preferred realistic images. Their paintings are a true hymn to noise and sensations. This unconventional movement enabled the birth of a true national artistic identity which broke free from the establishment. The Ash Can School resolutely promoted the affirmation of the modernist current of American art. Edward Hopper, who was a student of Robert Henri, embraced the principles of this movement and brought them to another level.
