Pollock is…Crouching in My Pants” : Claes Oldenburg’s Ray Gun as Feminist Critique of the Abstract Expressionist Ego

The “seminal” piece of Claes Oldenburg’s Ray Gun art is Empire (Papa) Ray Gun (1959), a paper maché sculpted gun resembling an erect phallus and swollen testicles. After Empire (Papa) Ray Gun, Oldenburg defined Ray Gun art as anything with a right angle—a form representing the angle at which a handgun’s barrel and handle meet and/or where the erect penis and hanging testicles meet. The forms and tenants of Ray Gun continued into Oldenburg’s later installations, performances, and soft and monumental sculptures.

The Foundations of the Artists’ Community of Estes Park

"Estes Park lies in a beautiful location amongst the Rocky Mountains, sixty-five miles from Denver. Settlers came to the region in the second half of the nineteenth century. Among them in 1898 was artist R.H. Tallant who became a prominent landscape painter of the Rocky Mountains. Settling shortly after him was well-known painter Charles Partridge Adams. While Tallant and Adams founded the artists’ community, renowned artist Birger Sandzén and soon to be popular Dave Stirling were the mainstays pushing the artists’ community to new heights through the 1920s and 1930s. The establishment of a thriving artists’ community by Tallant, Adams, Sandzén and Stirling made Estes Park a recognizable place for attracting numerous artists throughout its history"

The energy of Beverly Rosen artist, professor, risk taker

"This paper takes a look at Beverly Rosen’s artistic work, providing an overview of the various periods and styles she explored, while introducing new details and expanding established interpretations of her work. It is an attempt at documenting Rosen’s many activities in addition to her personal art and professional development. Special attention is given to exhibitions and programming held at Rosen’s gallery, St. Charles on Wazee"

New dinners for all occasions : with instructions for formal and informal dinner service /

Includes dinner recipes and sample-menus for Sunday and holidays.

The calendar of cakes, fillings, and frostings : recipes of 365 different cakes and cookies, as well as frostings and fillings /

Includes index.

Catalogue illustré des ouvrages de peinture, sculpture et gravure /

"Exposés au champ-de-mars."

The calendar of sandwiches & beverages : 365 delicious, savory, and sweet sandwiches and beverages /

Includes index.

Greek lines and other architectural essays,

Greek lines and their influence on modern architecture.--The growth of conscience in modern decorative art.--Historical architecture, and the influence of the personal element upon it.--The royal château of Blois.--The present state of architecture.--Architecture and poetry.

Deutsche Renaissance. Eine Sammlung von Gegenständen der Architektur, Decoration und Kunstgewerbe in Original-Aufnahmen.

Bd. 9 has also special t.p.: Deutsche Renaissance in Österreich.

Jugend.

The Gemeinsamer Bibliotheksverbund gives the dates for this serial as 1896-1940, and indicates that from 1896-1903, the serial was published in Leipzig.

A history of the Crusades.

Bibliographical footnotes.

Van nu en straks.

Sheet music accompanying Dec. 1897 issue laid in at bottom of box no. 2: "Marialiedje" by H. van den Burg and A. Hegenscheidt.

Beyond the Bauhaus : Cultural Modernity in Breslau, 1918-1933 /

The Breslau arts scene during the Weimar period was one of the most vibrant in all of Germany, yet it has disappeared from memory and historiography. Breslau was a key center for innovative artistic production during the Weimar Republic; recovery of its history will shed new light on German cultural dynamics in the 1920s. Such a study has art historical significance because of the incredible extent of innovation that occurred in almost every intellectual field, advances that formed the basis for aesthetic modernism internationally and continue to affect the course of visual art and architecture today. Architecture education, just one example in many, is still largely based on a combination of the Bauhaus model from the 1920s and the model developed at the Breslau Academy of Fine and Applied Art. The exploratory attitude encouraged in Weimar era arts endeavors, as opposed to the conformism of academic art, is still a core value promoted in contemporary art and architecture circles. Given the long-lasting influence of Weimar culture on modernism one would expect to find a spate of studies examining every aspect of its cultural production, but this is not the case. Recent scholarship is almost exclusively focused on Berlin and the Dessau Bauhaus. Although both interests are understandable, the creative explosion was not confined to these cities but was part of a larger cultural ethos that extended into many of the smaller regional centers. The Expressionist associations the Blaue Reiter in Munich and Brücke in Dresden are two well-known examples. Equally, innovation was not confined to a few monumental projects like the Stuttgart Weissenhofsiedlung but part of a broader national cultural ethos. The dispersion of modernism occurred partly because of the political history of Germany as a loosely joined confederation of small city states and principalities that had strong individual cultural identities before unification in 1871 but also because of the German propensity to value and take intense pride in the Heimat, understood both as the hometown and the region. Heimatliebe translated into generous support for cultural institutions in outlying cities. Host to a roster of internationally acclaimed artists and architects, major collectors, arts organizations, museums, presses, galleries, and one of the premier German arts academies of the day, Breslau boasted a thriving modern arts scene until 1933 when the Nazis began their assault on so-called "degenerate" art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators, who were especially interesting because they operated in the space between the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground. It is the first book in English to address this history and presents the history in a manner unique to any studies currently on the market. 'Beyond the Bauhaus' explores the polyvalent and contradictory nature of cultural production in Breslau in order to expand the cultural and geographic scope of Weimar history; the book asserts a reciprocal dimension to the relationship between regional culture and national culture, between centers like Breslau and the capital Berlin. With major international figures like the painters Otto Mueller and Oskar Moll, architects Hans Scharoun and Adolf Rading, urban planners Max Berg and Ernst May, collectors Ismar Littmann and Max Silberberg, and an art academy that by 1929 was considered the best in Germany, Breslau clearly had significance to narratives of Weimar cultural production. 'Beyond the Bauhaus' contributes the history of German culture during the Weimar Republic. It belongs alongside histories of art, architecture, urban design, exhibition, collecting, and culture; histories of the Bauhaus; histories of arts education more broadly; and German history. The readership would include those interested in German history; German art, architecture, urban design, planning, collecting, and exhibition history; in the avant-garde; the development of arts academies and arts pedagogy; and the history of Breslau and Silesia.

Dell'Abbazia di Chiaravalle in Lombardia : illustrazione storico monumentale epigrafica /

Includes bibliographical references and index.

China.

Bd. 2: 2. Aufl.