In Their Own Words

Bob Scriver (1914-1999) was a bronze sculptor of Western subjects. Born and raised on the Blackfeet Reservation, his career parallels and illustrates the explosion of interest in this genre. Especially noted for his series on the Blackfeet and for his powerful rodeo series, his nearly 1,000 works include many animals and a small cluster of religious works around the death of his daughter.

In the Sixties Mary Strachan Scriver helped to build his bronze foundry and was his third wife. This biography is organized around the steps of casting a bronze by the Roman block method.

Introduction is by Brian Dippie.

During the New Deal, thousands of unemployed men and women found jobs painting workers onto Works Progress Administration (WPA) canvases. But did they identify with that army of working-class people who inhabited their 1930s art? What interconnections did their government-sponsored cultural production really have with the trade unions, strikes, protests, and despondent apple sellers of the Great Depression?
Labor's Canvas answers such question by employing both a labor- and an art-historical approach to the body language of class.

The Constitution as Treaty addresses U.S. constitutional interpretation from a novel, yet originalist perspective: the U.S. Constitution is a treaty. As a treaty, the Constitution must be construed in conformity with the United States' international legal obligations. This book specifically examines how federal courts are international courts and as international courts, how they can directly apply international law and construe federal law in conformity with international law. Most importantly, The Constitution as Treaty demonstrates that the federal courts' authority to review the constitutionality of federal and state law is based on international law.

Castaldi presents an innovative overview of African performance practices, art, and ideology in her study of Negritude and the National Ballet of Senegal. Combining ethnography, dance theory, and personal descriptions, Castaldi takes us on a journey from frontstage to backstage in the arena of African dance. Her book is a "must read" for students of African popular culture and scholars of performance in the humanities, arts, and social sciences. The debates emerging from her important research will be of great significance in many fields.

Chicago is a model for a new urban concept-the fusion of architecture and landscape. Seventy sites are explored in this beautifully illustrated and illuminating look at Chicago's way of bringing together buildings and landscape, culture and nature, commerce and leisure into energetic harmony. These green spaces, with their unprecedented melding of art, architecture and ecology, have become far more than places of escape-they are fully integrated into the urban scene, culture-producing parts of the modern city. Packed with maps and recommended tours as well as splendid photos, this is an essential guidebook for day-trippers, lifelong Chicago residents, and professionals in landscape architecture, urbanism, and design.

This magnificent compendium is the first comprehensive exploration of the Arts and Crafts legacy in the Pacific Northwest. It traces the movement from its nineteenth-century English beginnings to its flowering in Washington and Oregon through the 1920s and beyond, weaving into a tale of idealism and devotion everything from iconic masterpieces to recent discoveries. Included are public and private architecture, furniture, pottery and textiles, basketry and the influences of Native American arts, painting, printmaking, photography, graphic arts, and book design. Beautifully illustrated with nearly 400 photographs and period graphics, including rare images published here for the first time, this groundbreaking volume is an authoritative reference, a provocative story, and an irresistible treasure trove for arts and crafts collectors and enthusiasts everywhere.

From the late 1930s to the early 1950s, the Harvard Graduate School of Design played a crucial role in shaping a new modern architecture and the modern city. Architects, planners, teachers, and students from all over the world looked to the new GSD, with its celebrated faculty and curriculum, for the path to modern design. While the school's significance is widely recognized by architectural historians, most studies have concentrated on the Bauhaus founder Walter Gropius and his transformation of Harvard's old Beaux-Arts School of Architecture into a "Harvard-Bauhaus," a radically new school with a single outlook. In Inventing American Modernism, Jill Pearlman argues that Gropius did not effect these changes alone and, further, that the GSD was not merely an offshoot of the Bauhaus. She offers a crucial missing piece to the story--and to the history of modern architecture--by focusing on Joseph Hudnut, the school's dean and founder.

After heading the architecture school at the University of Virginia, and then at Columbia University, Hudnut created the GSD at Harvard in 1936, before Gropius was appointed, and he headed the school until 1953, the year after Gropius resigned. From the beginning, Hudnut gave the GSD its modern pedagogical direction, and he continued to oversee its curriculum and staffing for the next seventeen years. Although originally an admirer of Gropius's work and theories, Hudnut came to clash with him over the control of the direction of modern architecture and planning in the United States Gropius won the battle, but Pearlman shows that, had the GSD followed the path Hudnut wanted, modern architecture and the modern city might well have been different.

In his role as public intellectual, Hudnut wielded an influence that reached outside the university, distinguished by his encouraging people to participate in the architectural and urbanistic matters that affected their lives. A story involving European modernists such as Marcel Breuer, Martin Wagner, and Christopher Tunnard, as well as a number of other architects, city planners, and landscape architects, this book is more than the study of a single school; it is a look at the origins of modernism at a defining moment in the history of 20th-century architecture.

In 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.

Essays on the Intersection of Music and Architecture is a collection of nine texts written by international scholars. Most of the essays were originally presented at the interdisciplinary conference Architecture | Music | Acoustics that took place in Toronto, Canada, in June 2006 at Ryerson University. The texts range from historiographical and theoretical explorations of the relations between music and architecture via translations of architectural spaces into music to analytical case studies of architectural spaces for musical performance. The book includes illustrations, author biographies, and an index. Engineer/architect Sven Sterken (Belgium) explores music as an art of space through the work of the architect, engineer, and composer Iannis Xenakis. Architect and designer Kourosh Mavash (Canada) investigates Murray Schafer's Soundscape and its potential for a new pedagogy of architecture. Musician and landscape architect Galia Roe (Israel) examines existing notation systems and then develops a new scoring method for architectural analysis and design as she compares linear sequences in music and space. The ethnomusicologist, composer, and performer Kim Chow-Morris (Canada) chronicles the translation of a Toronto city street into a musical composition that was premiered at the Architecture | Music | Acoustics conference. Architect and professor Jim Lutz (USA) traces the transformations of architecture as instrument--and its inverse, instrument as architecture--through a series of projects that straddle the line between both fields of study. Architect and musician Yu Zhang (China) discovers musical design in the 18th-century architecture of the Altar of Heaven and the Zither Rhythm Studio in Beijing, China. Composer John Sands (USA) considers the societal function of music and architecture through an analysis of Markus Pernthaler's Helmut-List-Halle in Graz, Austria. Architect and musician Garth Ancher (Australia) translates the intangible qualities of Miles Davis' jazz-rock fusion into architecture through his design for a Contemporary School of Music in Launceston, Tasmania. Designer/architecture professor Mikesch Muecke and musicologist/music professor Miriam Zach (USA) trace in their essay the intersection of architecture and music throughout history in the work of architects and musicians, discovering along the way the potential of an interdisciplinary practice to transform both disciplines.

The prevention and cure of disease and the treatment of injuries were major concerns in ancient Egypt. Poorly understood in Egyptian society, illness informed much of their art. Featuring works from The Metropolitan Museum's collection, this fascinating book examines this relatively unexplored and underappreciated aspect of Egyptian art. It includes two introductory essays on Egyptian medicine, descriptions and photographs of sixty-four objects, and the first color reproduction of the Edwin Smith Papyrus in its entirety, accompanied by a full translation. One of the world's oldest scientific documents, the fifteen-foot-long Smith papyrus (now housed in the New York Academy of Medicine), discusses both practical and magical treatments of wounds and other maladies.

This richly illustrated book of vintage photographs commemorates one of the most memorable episodes in the history of archaeology: the discovery and exploration in 1922 of the tomb of the ancient Egyptian pharaoh Tutankhamun (Dynasty 18, ruled ca. 1336-1327 B.C.). These photographs, documenting every stage in the process of discovery, were taken by the renowned archaeological photographer Harry Burton. Burton was a staff member of the Metropolitan Museum Egyptian Expedition when he was "lent" to Howard Carter, the famed excavator of Tutankhamun's tomb.

From the rock-cut steps leading down to the entrance passage, to the opening of the sealed chambers inside, to the first view of the contents of the tomb and the removal of the objects, Burton's beautiful black-and-white photographs show thousands of the richly made and decorated objects found in the tomb. Carefully reproduced from Burton's original prints, the photographs are accompanied by new descriptive text written by two prominent Egyptologists with extensive knowledge of the history of Tutankhamun and the contents of his tomb.

Reston Town Center is a model downtown for the 21st Century. It represents the classic American tradition... the dream of building a better life in a new place. In this regard it is a new prototype.

Filipino Americans, like many ethnic groups in America, are complex and heterogeneous. This book documents how Filipino Americans have grown within the context of political forces, the prevailing social order, rights and responsibilities of individuals, economic well-being, and the American Dream. Lott shows how Filipino Americans have become active participants in the American democracy and why active civic participation is crucial to any emerging ethnic group. Her controversial thesis is that the twenty-first century will not be defined by the color line but by a more basic human relationship--the adult/child connection--because no society can survive without sustained commitment and shared sacrifice by adult men and women for the welfare of future generations.

The modern categories of pictures had their origins in the open art market of 16th-century Antwerp, which also reinforced the "brand name" recognition of certain famously inventive artists, chiefly Bosch and Bruegel.

This book is about Bill and Jean Eckart who were stage designers and producers at the peak of the musical era. They designed sets that became part of the performance on stage. Musicals Phantom of the Opera, and Les Miserables are a part of that innovative design.

Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance--geographical, temporal, or emotional--theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s. At a Distance traces the history and theory of such experimental art projects as Mail Art, sound and radio art, telematic art, assemblings, and Fluxus.

Biographical entries on African American architects practicing throughout the United States from the Civil War through WW II. 160 illustrated A-Z entries include biographical essays as well as commentary on the work of each architect offering a wealth of information about their lives, their buildings, and the obstacles many had to overcome.